5000
=SSMUSICAL TERMS:
COMPLETE DICTIONARY
OF
OF Vil
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MUSIC - UNIVER
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SPANISH, ENGLISH,
AMD 60CH OTHER
48 4EB TO BE YOUND IW THE WORKS oF
° HAYDN, HANDEL, HERZ, HUNTEN, LABITZKY, Lista,
MENDELSSOKN, MOZART, BINCK, SPOHR,
G, WARREN, WEBRR, AND OTHER
INENT MUSICAL COMPOSERS.
NY, GHASSINEAU, AND HAMILTOR
(Raxosp, 2evismp, aNv CORRECTED
Y JOHN S. ADAMS.
Ds TREATIO£ ON PLAYING FH ONSAB we
>PORTE BY FIGURES, BTU.
BOSTON:
TIN GREEK, HEBREW, ITALIAN, FRENCH, GEBMARM
ond, PHRASES, ABBREVIATIONS, AND SIGNS
) BEETHOVEN, BERTINI, BURGMULLER, CARULLI, CRAMER, CSBRS.
ME CZLEBRATED DICTIONARIES UF Om wwe:
a
a
ANew Epoch in Piano-forte Playi
HASON & HOADLY’S
METHOD FOR THE PIANO-FOR
WILLIAM MASON & E. S, HOADLY.
The most Interesting and Practical Musical Work ever iss | ee
Mr. Mason has long been esteemed the leading pianist in this «7
try, and in this new work offers attractions to teachers and pupils v7
have never before been published. It contains charming Gems of hi
ation, both simple and classical, from many of the finest works of 7”
nent compogers. :
Published with American and Foreign Fingering, in separate editid)
PRICE, $4.00.
“Its great features are the manner in “This is the best Method for the ]
which the learner’s difficulties are antici-
pated, and the clearness of the directions that
enable him to surmount them.”— London
Musical }orld,
“This ‘Method, for comprehensiveness,
perfection of detail, and clearness of treat-
ment, exceeds avy thing of the kind within
our knowledge. It
— London Sunday Times.
is really a grand work.””
forte yet published; the clearness of t”
rangements, the simplicity of the dired9@
the admirable selections, and the tho
ness of progression, together with the b
ful typography and general neat app ek
of the whole work, recommend it for of
use among our teachers.” — Amer. AT®
Journal,
MASON &
HOADLY’S
Gasy System for Beginners
The Latest Instruction Book for the Piano-Forte.
UNEXCELLED IN ITS PROGRESSIVE
LESSONS, EXERCISES, AND RECREATIO.
FOR YOUNG PUPILS AND BEGINNERS. ;
JUST WHAT TEACHERS NEED,
TO INTEREST AND ENCOURAGE THEIR PUPILS IN THEIR EARLY LESSONS, a haa
PRICE IN BOARDS, $3.00
U | t lu HALL W A devoid of melody, and in speaking of them
v4 n, calling one piece ‘‘more classical” than |
pare Fc 1 music, other than that written for dances |
in so-called ‘* classical” programmes, pieces |
,’ and even the ‘* Bohemian Girl!” We
i inegin dei, pimitten to the Montreal Star for a definition
on of MONDA’ > TWENTEAt the compositions of Mozart, Handel,
Y instant, for the immediassical. Of course, the Stay is not a
g Rolling Stock :— ‘s to know everything, but we think it would
ars, all than to have spoken authoritatively on a
aggage Cars, niliar. Our object in mentioning the matter,
r , but to show that even in enlightened and
W ioe. _ |. iing of the term is not understood, in fact
font fications may be the dhhes ctefinition, from Grove’s ** Dictionary of Music
hovacific Railway, Ottawa, andNusicians, but to amateurs :—
4 ty Intercolonial Railway, Moncts much the same signification as it has in
8 Cito be deli . their place in general estimation for a con-
iguipeific Railway, ot or betes \erally Eositeret to be of the same type and
ey (ly applied to works in the forms which were
hed a BRAUN, of the last century, as instrumental works in
. Rolling Stock.
’s 4rs
vin’ Sec he received traditions; and in this sense the,
iple rebar. ‘ wre
Pa ND Nae n the controversy between the musicians who
a 1880. hose, like Schumann, who wished music to be
ate —~——e free inspiration of the composer, and less
ecial : oa ie
s; Pacific Railwa,,, music is not classical, and would be out of
2.0 ¢
08 Badd cog miles section Was) 0 What principle they make these distinc-
© PH be received by the undersig under distinctive titles, but, as in literature,
delb ay, the 29th of March next these distinctive titles, and, perhaps without
: more compare Rossini to Beethoven, or Balfe
-ktend from th é z
ag. Aeetapel hea if Thomas Moore and Shakespeare, or plain
Opyestern boundary in Manito
lt side of th i
usiqt “de of the valley of Birde tows eS
ffen}
uch 2 B i
sue the printed form, which, thoven, Spohr, Schubert, Mendelssohn.
wit. zer, Wagner, Gounod.
*; may be had at the Pacific F, ‘
iH gf AY ific Ver
ra des, in Ottawa and Winnipeg’ @!!ace, Balfe, Verdi, Sc.
fof March next. _ Classical music, in fact they knew no other
By Order : dls were developed, and many of the modern
la BRAUN, times. Much of Mendelssohn’s music should,
Dies Secretar’ ; and although Verdi’s ‘Il Trovatore” and
4, 1880, “fe sida” may be considered ‘‘romantic” if not
‘ t least consistent, his operas are all of the
> other lips” and the ‘* Power of love” could
HPA a7: even Verdi, is beyond our comprehension,
ataty CIFIC RAIL W evs: and his instrumentation is much nearer
ecehy EG tee . a : ;
‘iece ; | popular and sometimes humourous composi-
a Rolling Stock, P* Sullivan, who has written ‘The Prodigal
yo ,. 4” and many ballads of the popular order, and
asiteqohed Suk erpehiag | Trial by Jury.” Many of the compositions
1ew dway within the next four yn, and others of the present day, may be con-
inn doy i each year of aboutstyle of the earlier masters; at the same time
yeadle : .. ‘hich would be out of place at a ‘‘ classical”
‘ompEngines, “concerts given under the above title these few
“otha: can’ . ~ g . uae
oe P paar sleehicg] opera is fast dying out, Beethoven and
Baggage Cars, - _—-«_-s erdi; even Weber’s grand operas have given
mcd Cars, -., sof Wagner. We must confess that we do not
if: - “""5- resources at command and the stage itself has
See. ee eee ne ee ea, on eens Cr een Gee Le
“AMBATHIGG A@ SHOVIG
ies wr? 7}
Ottawa, February 6th, 1880.
Queber Government Railways
IRON SUPERSTRUCTURE
“FOR
CHAUDIERE BRIDGE.
TENDERS WANTED.
ENDERS, addressed to the Hon. the
Commissioner of Agriculture and Public Works
of the Province of Quebec, at Quebec, and endorsed,
“Tender for Superstructure of Chaudiere Bridge,’’
will be received at the Department of Public Works
up-to Noon of
THURSDAY, ist April next,
for the construction, delivery and erection of the Iron
Superstructure required tor the Chaudiere Bridge,
which is to consist of 10 Spans, each 150 feet in length,
one Span of 135 feet, one of 160 feet, and one of 225
feet.
Specifications and all other information may be
obtained upon application to Mr. P.A. PETERSON,
Chief Engineer, 16 St. James street, Montreal.
No tender will be received unless made upon the
printed form attached to the Specification, nor unless
accompanied with a certified cheque for One Thou-
sand Dollars, which sum shall be forfeited if the party
tendering declines entering into contract for the work
at the rate and on the terms stated in his tender,
Cheques will be remitted to those whose tender shall
not be accepted ; and for the full execution of the con-
tract satisfactory security will be required to an
amount of Four Thousand Dollars.
The Government does not bind itself to accept the
lowest or any tender.
By order,
E. MOREAU,
Secretary.
Quebec, 12th February, 1880.
4 IRKS
© Boat
THIRD B
supply of ti.
- 4K
6 Be
60 Pi,
Age
Drawing}}: .
informatior,
Engineer-in~
the Enginees>
NB
& Co., N.
i (THE).
Parts, for Ladi
OF MUSI
sons in the Ru
~alue in condu
Vocal: Mus
The Rolling New Oona
Branch, ae
15th of "May
ses. By L.
of Three-P:
jigned expre
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Derr. R %
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6 Lures, “horuses, tri
Rep Rr aiue D. G. A
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auaticiaag a © seof Vocal Ex
The section NI. $1.25.
Contract—negy sic Chart
to a point on § t Price, oy
oie. are painted
Tenders mug, _ They conte
ercises and |
all other infor)
way Engines’
and after the
G
Dept. of
Ottawa,..
1
CANAD!
Tende:
q
ENDER,
Rolling 3
Canadian Pacj,
comprising Ah
following, v
2
20 Loc:
16 Firs
actly seen fic
will save eve
tpon the blac
er: put up 1
‘ always rea
uer Dr. LOWE
there is anoth
Ree. 1aller type. T
‘ices ‘to teache
AIL.
her can afford
LOWELL M
aus adapted
as ye
s@lr,
aha It R
»gether furni
ible, and. th
rat has yet ¢
» Book, For t
sy and pleasi
nd Book. In¢
of instruction,
fi school mus
‘a Book. Besic
e, with IlJust
&c., it conta
a Schoois, You
*.06,
a «=— LIE
6000
MUSICAL TERMS:
COMPLETE DICTIONARY
Or
LATIN, GREEK, HEBREW, ITALIAN, FRENCH, GERMAB
SPANISH, ENGLISH,
SED SUCH OTHER
WORDS, PHRASES, ABBREVIATIONS, AND SIGNS
48 ARE TO BE FOUND (8 THE WORKS OF
4UBEZB, BEETHOVEN, RERTINI, BURGMULLER, CARULLI, CRAMER, C2ERIE,
DONIZETTI, HAYDN, HANDEL, HERZ, HUNTEN, LABITZEY, Lista,
MEYEKBEER, MENDELSSOHN, MOZART, RINCE, SFOS,
THALBERG, WARREN, WERER, AND OTHER
EMINENT MUSIOAL COMPOSERS, a | >
YN,
Was WHOLE INCLUDING THE UZLEBRATED DICTIONAHIES OF BA SuTEe
CZERNY, GHASSINKAU, AND LAMILTOS
ARRANGED, REVISED, AND CORRECTED
pws, '
c BY JOHN 8.” ADAMS. ee
as WIC is ADDED & TREATISE ON PLAYING TRE UBGan Bx
YIARO-FORT« BY Fi@URES, ET
Noe’ Ls ous ae 5\
2G
BOSTON: of.
CLIVER DITSON & CO., 277 WASHINGTON ST.
NEW YORK: C. H. DITSON & CO.
THE TIME TABLE.
A © is equal to ss aklucks which “acter “201 had
,
, OG
ad
epee et eae AD Re ee reer
|
TO eee
A
a
-
A ? in equal to 2 4° ors @
6 p .4 2 4
Af is equal to 2 6 or 4 M{_
- g _# 10%
Rntered according to Act of Congress, in the year 1851, by UL1vER DiTsox & ‘he Clerm
Office of the District ourt of the District of Massachusetts.
DICTIONARY OF MUSICAL TERMS.
ABBREVIATIONS, denoting the language in which the terms are written
or from which they are derived: F., French; G., German; Gé., Greek:
H., Hebrew; I., Italian; L., Latin; S., Spanish; Pi., Plural.
A.
A, the alphabetical name given to the sixth note of the scale of €
in ascending.
A, (I.) to, for, by, at, &c.; as, a tre, for three.
AANES, a Greek term, applied to modes and tones.
ABACUS, an ancient instrument for dividing the intervals of an
octave.
A BALLATA, (1.) in the manner of a ballad.
A BATTUTA, (J.) by beating, or in strict time, after an ad libitum,
ABBANDONASL (Z-) with self-negation and aban-
ABBANDONATEMENTE, donment. Despondingly; witk-
ABBANDONE, con, out restraint, making the time
ABBANDONO, con, subordinate to the expression.
ABBASSIMENTO DI MANO, (J.) the falling of the hand in
beating time.
ABBREVIATURE, (I. Pi.) contractions or abbreviations in musical
notations.
ABBELLIMENTI, (J.) ornaments introduced to set off a plaix
melody.
A BENE PLACITO, (i.) at the pleasure of the performer.
& DICTIONARY OF MUSICAL TERMS,
ABKUR2UN(ZEN, (G.) abbreviations.
ABSATZ, (G.) a section, or musical sentence.
ABSETZEN, (G.) These words imply a style of performan: ¢€
ABSTOSSEN, ; similar to staccato.
‘ ABWECHSELEND, (G.) alternating, as mit Abwechseknden Max
ualen, alternately from the great choir to the organ, &c.
ACADEMIE ROYALE DE MUSIQUE, (F.) the name given ts
the French Opera House.
A CAPELLA, (I.) in the church style.
A CAPRICCIO, (J.) at will, agreeable to our faney.
ACATHISTUS, a hymn sung in the ancient Greek church iz
honor of the Virgin.
ACADEMIA MUSICALE, (/.) Musical academy. The first one
was instituted at Vicenza, A. D. 1500.
ACADEMIE ROYALE, (F.) an academy of music, instituted at
Paris, A. D. 1669.
ACADEMY, (MUSICAL,) musical meetings, held under a direct-
ing leader. The first of these in England took place A. D. 1716,
ACCADEMIA, (J.) a concert.
ACCAREZZEVOLE, in a persuasive and caressing manner.
ACCAREZZEVOLMENTE, same as Accarezzevole.
ACCELERANDO, (J.) with gradually increasing velocity of move-
ment.
ACCELERATO, (J.) accelerated, increased in rapidity.
ACCENT, 2a slight stress placed upon a note to mark its place and
relative importance in the bar.
ACCENTUARE, (J.) to accentuate; to perform with expressive
accentuation.
ACCIACCATURA, (Z.) a species of arpeggio.
ACCIDENTS, occasional sharps, flats, and naturals placed befcre-
notes in the course of a piece.
ACCIDENTAL CHORDS, those chords.containing one or more
notes foreign to its proper harmony.
ACCOLADE, (F.) the brace employed to connect two or muts
staves in piano-forte or harp music, and in scores.
ACCOMPAGNAMENTO, (1.)
ACCOMPAGNEMENT, (F.)
ACCOMPAGNEMENS, (F. Pi.) accompaniments.
ACCOMPAGNATORE, (I)
ACCOMPAGNATEUR, (F.)
an accompaniment.
. an accompanist.
DICTIONARY OF MOSICAL TERMS. 5
ACCOMPANIMENT, a we added to a principal, by way of
znhancing the effect of the composition. Accompaniments are
sometim +s ad kbitum, that is, they may be dispensed with in the
performance ; and sometimes obkgato, that is, indispensable te the
proper effect of the whole.
ACCORD, (F.) a chord.
ACCORDARE, (J.) to tune.
ACCOMPANIMENT OBLIGATO, the accompaniment must be
used.
ACCOMPANIMENT AD LIBITUM, use the accompaniment or
not, at pleasure.
ACCOMPANIST, the person playing the accompaniment.
ACCOPIATE, the union of two parts.
A CEMBALQO, or A CEMB., (J.) for the harpsichord.
ACCLNTOR, an old term, signifying the performer who tock the
principal part in a duet, trio, &c.
ACCORD, TO, to agree in pitch and tone.
ACCORDANDO, (Z.) tuning.
ACCORDATORE, (1) :
ACCORDEUR, (#.) , a piano-forte tuner.
ACCORDO, (Z.) a chord.
ACCORDATURA, (Z.) the scale of notes, according to which the
open strings of any instrument are tuned. Thus, C, G, D, A,
form the accordatura of the tenor and of the violoncello; G, D,
A, \4, that of the vielin; E, A, D, G, B, E, that of the guitar
&e.
ACCORDER, (F.) to tune an instrument.
ACCRESCIMENTO, (Z.) an increase, or augmentation.
ACCRESCIUTO, (Z.) superfluous ; augmented in respect to inter-
vals.
ACETABULUM, an instrument of the ancients.
ACHTELNOTE, (G.) a quaver. ;
A CHULA, a Portuguese dance, resembling the fandango.
A CINQUE, (Z_) for five voices or instruments.
ACOUSTICS, from the Greek, denoting the science of sound,
ACTE DE CADENCE, (Ff.) a cadence.
ACUTE, high, shrill, as to pitch.
ADAGIO, (Z.) very slow and expressive, admitting of much grava
and embellishment,
1*
§ DICTIONARY OF MUSICAL TERMS.
ADAGIO ASSAI OR MOLTO, (1) extremely slow snd em
pressive,
ADAGIO CANTABILE E SOSTENUTO, (J.) a very slow move
ment, in a sustained or singing style.
ADAGIO PATETICO, (1) in a slow time, and with plaintive ex-
pression.
ADAGIS$IMO, (1.) excessively slow.
ADASIO, (1.) same as Adagio.
ADDITATO, (Z.) fingered.
ADDITICNAL KEYS, an epithet applied to the keys of a piandg-
forte when they run above F in altissimo.
A DEMI VOIX,? (F.) synonymous with mezza voce: see that
JEU, ‘ term.
A DEUX TEMPS, (F.) two equal times or measure notes in a bar.
A DEUX, (F.) for two voices or instruments.
ADJUNCT NOTES, unaccented auxiliary notes.
AD LIBITUM, (L.) at will, or discretion. This expression implies
that the time of some particular passage is left to the pleasure of
the performer; or that he is at liberty to introduce whatever em-
bellishments his fancy may suggest.
AD LONGUM, (L.) applied by the early reformers to compositions
consisting.of notes of equal duration, and those the longest in use,
AD OMNEM TONUM, (Z.) from every note.
ADORNAMENTO, (J.) an ornament.
A DUE CORDE, instruments having two strings.
A DUE, (J.) for two voices or instruments.
A DUR, (G.) the key of A major.
ADQUISTA, applied by the Greeks to the-sound added at the
bottom of the scale in each of the modes.
ZEOLIAN PIANO-FORTE, a piano-forte so conjoined with the
£olian that the same set of keys serve for boty: or for either,
singly, at the pleasure of the performer.
ZEOLIDICON, a seraphine or melodeon.
ZEOLIAN HARP, an instrument the tones of which are caused
by a vibration of the strings by the air.
ZEQUIVAGANS, (Z.) a term used to signify that all the parts ix
the passage deviated from the natural order of the measure at the
same time.
ZQUISONANS, : ;
QUISONANT, t of the same or like age 2 ; & wien
DICTIONARY OF MUSICAL TERMS. 4
ASTHETICS, from the Greek; the doctrine of taste as applied ta
the fine arts; musical expression ; casing sensations of beauty,
sublimity, or pleasure.
AEUSSERSTE STIMMEN, (G. Pi.) the extreme parts.
AFFABILE, in manner kind and courteous.
AFFANNOSO, con, (I.) with mournful expression.
AFFETTUOSO,
AFFETTUOSAMENTE, (1.) with tenderness and pathos.
AFFETTO, con,
AFFLIZIONE, con, (J.) sorrowfully, with affliction.
AFFRETTANDO,
AFFRETTATE,
A FOFA, a Portuguese dance resembling the fandango.
AGEVOLE, (J.) without labor, light, easy, agreeably.
AGITATO UN POCO, with slight agitation.
AGIA, used by the Greeks in characterizing modes or tones.
AGITATO ALLEGRO, a rapid and perturbed style of perforw-
ance. ;
AGILITA, con, (I.) with lightness and agility.
AGITATO,
A4GITAZIONE, con,
AGNUS DEI, (Z.) one of the principal movements of the mass.
AGOGE, employed by the Greeks as a name for one of the sub it-
visions of their Melopeeia,
A GRAND CHGOUR, (f.) for the entire chorus.
A GRAND ORCHESTRE, (F.) for the entire or complete orchestra.
AGREMENS, (Ff. Pi.) embellishments.
A IN ALT, the A placed on the first upper added line.
A IN ALTISSIMO, an octave above A in Alt.
AIR VARIE, (F.) an air with variations,
AJR, (F.) an air or tune with or without words; as Air Italien, an
Italian air, &c.
AIRS TENDRES, (Ff.) songs of an amatory description,
AIS, (G.) a sharp. :
A LA MESURE, (F.) in time; synonymous with the Italian we rds
A tempo.
ALBERTI BASS, a bass formed by taking the notes of chords in
Arpeggios ; this kind of bass is said to haye been invented by ene
Dominico Alberti.
(1) accelerating, hurrying the time.
, (1.) with agitation, anxiously.
& DICTIONARY OF MUSICAL TERMS.
A LIVRE OUVERT, (F.) at sight; literally, at the opening of the
book.
ALLIEVO, (J.) a pupil.
AL, ALL’, ALLA, ALLO, (J.) to the, or in the tye of.
AL FINE E POI CODA, at the close of the piece perform the
Coda.
ALLA BREVE, (J.) this term is used to indicate a quick species
of common time, formerly used in church music.
—— CACCIA, in the hunting style.
——— CAPELLA, (J.) in the sacred or church style.
~——— MADRE, (J.) songs and hymns to the Virgin.
ee resco : (Z.) in the military or march style.
-~—— MODERNA, (J) in the present or modern taste.
——— POLACCA, (Z.) in the style of Polish dance-music.
—— ROVERSCIO, (JZ.) in contrary or reverse movement.
——— RUSSE, (J.) resembling Russian music.
—— SICILIANA, (J.) in the manner of Sicilian dance-music.
—— SCOZZESE, (1.) in the Scottish style.
—— STRETTA, (J.) increasing the time; accelerating the de-
gree of movement.
—— TEDESCA, (J. in the German style.
——- TURCA, (Z.) in the Turkish style. -
-——— VENEZIANA, (J.) in the style of Venetian music.
-——— ZOPPA, in a constrained and limping style.
ALL’ ANTICA, (J.) in the ancient style.
——— ESPAGNUOLA, in the Spanish style. ©
—— INGLESE, in the English style.
-——~ ITALIANA, in the Italian style.
—— IMPROVISO, (J.) suddenly.
~ —— IMPROVISTA, (J.) without previous study ; unpremeditat-
edly.
-—— OTTAVA, (I.) in the octave. This expression frequently
occurs in scores, far the purpose of indicating that one part
must play in the actave above or below another.
~—— UNISONO, (Z.) in unison ; or occasionally in octaves.
ALLEGRAMENTE, (J2.) with quickness.
ALLEGRETTO, (1.) somewhat cheerful but not so quick as Al
kegro.
DICTIONARY OF MUSICAL TERMS. g
ALLEGKETTO SCHERZANDO, (J.) moderately ylayfil and
vivazious.
ALLEGREZZA, (J.) joy; as, con allegrezza, joyfully, animatedly.
ALLEGRISSIMO, (J.) extremely quick and lively.
ALLEGRO, (J.) quick, lively. A term implying a rapid and viva-
cious movement, but which is frequently modified by
the addition of other words; as,
———— AGITATO, quick, with anxiety and agitation.
——_————- ASSAI, very quick.
COMODO, with a convenient degree of quickness.
————. CON BRIO, quick, with brilliancy.
-————. CON FUOCO, quick, with fire.
CON MOTO, quick, with more than the usual degres
of movement.
———— CON SPIRITO, quick, with spirit.
—————- DI BRAVURA, quick, dashing and brilliant.
———— FURIOSO, quick, with fury.
———— MA GRAZIOSO, quick, but gracefully.
— — MA NON TROPPO,
——-——. MA NON PRESTO . quick, but not to excess,
———— DI MOLTO, exceedingly quick.
———— MOLTO, or DI MOLTO, extremely quick.
——— VELOCE, quick to absolute rapidity.
———— VIVACE, with vivacity.
——-—— VIVO, with great life and energy
ALLEMAN DE, (7.) a slow dance in common time of four wratahiate
in each measure.
ALLEGRI DI BRAVURA, brilliant and effective compositions.
ALLELUJAH, an ascription of praise.
ALLENTANDO, decreasing the time.
ALLONGER, (F.) to develop; to lengthen, This term sometimes
occurs in violin music; as allongez Uarchet, give development to
the bow; lengthen the strokes of the bow.
ALMA REDEMPTORIS, (Z.) a hymn to the Virgin.
AL LOCO, (J.) terms which refer us to some previous place in ths
piece.
Al, RIGORE DI TEMPO, (J.) in strict time.
AL ROVERSCIO, (JI.) by reverse or contrary motion.
AL SEGNO, P A sae that the performer must return
AL SEG. (abb.) or 2 to a similar character in the course of
F al
iv DICTIGNARY OF MUSICAL TERMS.
th: movement, and play from that place to the word a or thy
maa “SS over a double bar.
ALMAIN, an air in common time.
ALT, a term applied to those notes which lie between F on the fifth
line in the treble stave, and G on the fourth een line above.
oe : (G.) the tenor violin.
a eee : (G.) the C clef on the third line.
ALTA, (1.) higher; for example, ottava alta means that we are to
play an octave higher than the notes are written.
ALTERATIO, (Z.) a term formerly applied to the doublirg the
value of a note.
ALTERATO, (J.)
ALTERE, (F.)
ALTERNAMENTE, each part to be performed alternately.
ALTITONANS, (L.) high sounding.
ALTERNATIVEMENTO, te sing the parts of two songs «lter-
nately.
ALTERNATIVO, (J.) alternating; proceeding alternately from one
movement to another.
- ALTISSIMO, (1.) ‘extremely high as to pitch.
ALTISTA, (Z.)
ALTISTE, (F.)
ALTO, (J) in vocal music, indicates the counter-tenor, or highest
male voice. It also indicates the part for the tenor in in-
strumental music. ;
—— CLEF, the C clef on the third line of the stave.
—— CONCERTANTE, the tenor of the little chorus which «n
“ tinues throughout the piece.
—— PRIMO, the highest alto.
— — RIPIENO, the tenor of the great cnorus which is perforu ed
at some particular place in a composition.
—— SECUNDO, the lowest alto.
—— TENORE, the highest tenor.
oe. : (Z.) other.
ALTRI, (J. Pi.) others.
ALTUS. the upper or counter tenor
; augmented, with respect to intervals.
; one who has an alto or counter-tenor voice.
DICTIONARY OF MUSICAL TERMS. li
ALZAMENTO DI MANO, (Z.) the elevation of the hand in beat.
ing time.
AMABILE, .
AMABILITA, con, ; A Te hl
AMAREZZA, con, (I.) with bitterness and affliction.
AMATEUR, (F.) a non-professional lover of music.
AMBITUS, a word once used to signify the distance between the
highest and lowest notes.
AMBO, or AMBON, the desk at which the canons were sung in
the early ages.
AMBROSIAN CHANT, the chant introduced by St. Ambrose inte
the church at Milan, in the fourth century.
AMBUBAJE. This, among the ancient Greeks, was the name of a
society of strolling flute-players.
AME, (F.) the sound-post of a violin, tenor, &c.
A MEZZA VOCE, (J.) in a subdued tone.
ARIA, a melody of moderate tone; also, a vis partly
recitative.
AMEN, from the Hebrew, signifying so be it, truly, or verily.
A MOLL, (G.) the key of A minor.
A MORISCO, in the style of the Moorish or Morris dance.
AMOREVOLMENTE, (J.) with extreme affection.
AMOROSAMENTE, (J.) in a tender and affectionate manner.
AMORE, con, 2 (J.) adverbs, signifying a soft, gentle, and tender
AMOREVOLE, style of performance.
AMOROSO, (J.) a word from which the performer learns that the
movement to which it is prefixed should be performed in a soft
and tender style.
AMPHIBRACH, a musical foot, accented thus: vy — vv
AMPHIMACER, a musical foot, accented thus: — vw —
ANACAMPTIC, from the Greek ; the name to sounds produced by
reflection, as in echoes.
ANACAMPTOS, used by the Greeks to denote a course of retro
grade or reflected notes.
ANANES, a word applied by the ancient Greek church to the'r
modes or tones.
ANALYSE, (/.} an analysis.
AN4CREONTIC, in the drinking or Bacchanalian style.
&ANAPEST, a musical] foot, accented thus, ~~ —.
12 DICTIONARY OF MUSICAL TERMS.
ANAPHORA. This term formerly signified ie immediate rey etx
tion of a passage. :
ANCORA, (J.) once more; repeat again.
ANCHE, (F.) the reed or mouthpiece of the clarinet, oboe, or of
the various organ pipes which form the reed stops.
ANCILLIA, sacred shields, on which the ancient Greeks beat the
time of their music.
ANCIA, (I. ) the reed of the oboe, adtibu, &e.
ANDAMENTO, (J.) an accessory idea which the composer ‘ntro-
duces in a fugue to relieve the subject and its answers, and to
produce variety.
ANDANTE, (J.) a slow and distinct movement.
- AFFETTUOSO, slow, and with much pathos.
CANTABILE, slow, and in a singing style.
CON MOTO, slow, and with emotion.
GRAZIOSO, slow, and gracefully.
———_——— MAESTOSO, slow, and with majesty.
NON TROPPO, slow, but not in excess,
-——_—_——— PASTORALE, slow, but in a simple and pastoral
style.
ANDANTINO, (J.) a little slower than andante.
ANEANES, Grecian modes and tones.
ANFANSGRUNDE, (G.) the elements or principles.
ANFANGS RITORNELL, (G.) an introductory symphony to an
air, &c.
ANGLAISE, (F.) a tune adapted for a country dance, in the Eng-
lish style.
ANGOSCIAMENTO, con, (I.) with anxiety, apprehensively.
ANHALTENDE CADENZ, (G.) a pedal note or organ point.
ANHANG, (G.) an adjunctive member to a musical sentence; a
sort of coda.
ANIMA, con, f
ANIMATO, bry with animation; in a spirited manner.
ANIMOSO,
ANIMA DI MUSICA, animated music; to perform with fal
power and feeling.
ANLAGE, (G.) the plan or outline of a composition.
ANLEITUNG, (G.) an introduction. This term often occuys in the
titles to German publications.
DICTIONARY OF MUSICAL TERMS. 13
‘\
ANONER, (F.) to perform in a hesitating manner.
ANOMALIES, false scales or intervals, which exist in keyed um
struments.
ANSATZ, (G.) the mouthpiece of a wind instrument.’
ANSCHLAG, (G.) the percussion of a discord,
ANSPRACHE, (G.) intonation,
ANTECEDENT, the subject of a fugue, or of a point of imitaticn.
ANTHEM, a composition in the sacred style, the words of which
are generally selected from the Psalms.
ANTIBACCHIUS, a musical foot, composed of two long notes and
a short one.
ANTICIPATION, a taking of a note or chord previous to
ANTICIPAZIONE, (J.) , its natural and expected place.
ANTICO, al’ (I.) in the ancient style.
ANTICIPATING GRACE, an embellishing note which forestalls
the succeeding note.
ANTIPHONE, responses made by one part of the choir to another,
or by the congregation to the priest, in the Roman Catholic divine
service.
ANTIPHONARIUM, a volume containing the responses made by
one side of the choir to the chants of the other.
ANTIPHONS, dialogues on sacred subjects, chanted by the chcirs
of the early Christian church.
ANTIPHONY, portions of Scripture chanted or sung at religicus
festivals. :
A PARTE EQUALE, aterm used to designate two or more per
formers who sustain an equally difficult and important part.
APERTO, (J.) open; an adjective sometimes used to indicate the
employment of the damper pedal.
APICNI, a term applied to those sounds which are distant one
or more octaves, and yet concordant.
A PIACERE, (1.) at the pleasure of the performer. Sea
A PIACIMENTO, ; Ad libitum.
A PLOMB, (F.) with exactitude as to time. &
APOTOME, the remaining part of an entire tone, after @ great »t
semitone has been taken from it.
& PUCUO FIU LENTO, (J.) a little slower.
MOSSO, (J.) a little quicker
2
——
14 DICTIONARY OF MUSICAL TERMS.
APPRISE, a sign placed to direct the eye from the last note of a
staff to the first of the succeeding one.
APPASSIONATO, SRE
APPASSIONAMENTO, eld bereyt spevcgronst ony By conta
APPASSIONATAMENTE, s
APPEAU, those tones which resemble the warbling of birds.
_APPLICATUR, (G.) a position or shift on the violin, violoncello, &c.
APPOGGIATURA, (Z.) a note of embellishment, generally written
in a small character.
APPOGGIATO, (J.) dwelt, leaned upon. _
APYCNOS, applied to the diatonic genus, from its being plain and
easy, free from minute divisions, and having great or spacious in-
tervals, in comparison with the chromatic and enharmonic.
A QUATRE MAINS, (F.) 2 for four hands, or for two performers
A QUATRO MANI, (2) : on one piano-forte.
A QUATRO, (J.) for four voices or instruments.
ARBITRIO, subject to the judgment of the performer.
ARCATO, (JI.) to be played with the bow.
ARCHET, (F.) a violin, violoncello, or double bass bow.
ARCO, (I.) a bow; as, col arco, with the bow.
ARCHEGGIAMENTO, (J.) the management of the bow in play-
ing the violin.
_ ARCHLUTE, a stringed instrument resembling the the-
ARCHILUTH, (F.) orbo, and by some considered synonymous
ARCILIUTO, (J.) with it.
ARCHI LEUTO, a very large and long lute
ARDITO, (Z.) boldly, energetically.
ARETINIAN SYLLABLES, the syllables ué, re, mi, fa, sol, la,
used by Guido d’Arezzo for his system of hexachords,
ARIA, (J.) an air or song. There are several species of airs ; as,
—— BUFFA, a comic air.
—— CONCERTATA, an air with elaborate orchestral accom:
paniments.
——— D’ABILITA, “in sir of difficult execution.
-—— DI BRAVURA, an air requiring great volubility of ex:
ecution.
—— DI CANTABILE, an air in a graceful, einging, and ficw.
ing style.
Fy
DICTIONARY OF MUSICAL TERMS. 15
&RIA FUGATA, an air, the accompaniments to which are ar'ttes
in the fugue style.
-—— . PARLANTE, an air more declamatory than melodious.
——- TEDESCA, an air in the German style. :
ARIE AGIUNTE, (J. Pi.) airs added to or introduced in any
opera, on subsequent performances.
ARIETTA,
ARIETTINA,
ARIETTA ALLA VENEZIANA, (1.) little airs in the styie of the
Venetian Barcarolles.
ARIOSO, (J., in the style of an air; vocal, melodious.
ARIOSE CANTATE, (J. Pi.) a kind of speaking air, which, by
introducing frequent changes of measure and manner, first served
to draw the line between air and recitative.
ARMER LA CLEF, (F.} This expression relates to the placing of
the sharps or flats requisite for the key of the piece immediately
after the clef.
ARMONIA, (J.) harmony.
ARMONICA, (J.) a musical instrument, generally constructed of
glass.
ARMONIOSO, (J.) with harmony.
ARMONICI, a musical instrument, the tones of which are po
duced from globular glasses.
ARMONICI, (J.) harmonic.
ARMONIOSAMENTE, (J.) harmoniously.
ARMONISTA, (J.) one who is acquainted with the doctrine of
harmony.
ARPA, (J.) a harp. ‘
DOPPIA, (J.) a double-actioned harp.
(1.) This word implies that the notés of a
: (J.) a short air or melody.
at milan chord must be played in quick succession,
< *
ARPEGGIO, generally from the lowest note to the high- ,
est, in imitation of the harp.
ARRANGEMENT, that extension, or selection and disposal of the
movements and parts of a composition, which fit and accommo.
date it to the powers of some instrument or instruments for wl ich
it was not originally designed.
ARS MUSICA, the art of music.
—-- COMPONENTIS, (J..) the art of composing.
6 DICTIONARY OF MUSICAL TERMS
ARS CANENDI, (Z.) the art of singing.
ARSIS aid THESIS, the raising and depressing of the Land iz
beating time.
ARTICOLARE; (J.) to articulate distinctly each note.
ART DE L’ARCHET, (F.) the art of bowing.
ARTICULATO, (J.) to be enounced with distinct artic lation.
pole : a virtuoso; a first-rate performer
“AS, (G.) A flat; as,
— DUR, A flat major.
-—— MOLL, A flat minor.
ASCULZE, a name applied by the ancients to those whc professed
to perform on the organ.
ASPERGES ME, (L.) the commencement of the mass in the Cath-
olic service. F
ASPREZZA, con, (I.) dryly, with coarseness or harshness.
ASSAI, (/.) very; as, presto assai, very quick.
ASSOLUTO, alone.
ASSAYING, a flourish on the instrument before the commence-
ment of a piece, to determine whether it is in tune.
A SUO ARBITRIO, (Z.) Ad libitum, at will as to time, the choice
COMMODO, of the degree of moyement being left
to the performer.
A TABLE SEC, (F.) a term relative to the meni of vocal exer-
cises unaccompanied by an instrument.
(1) intime. A term used to denote that, after
A TEMPO, some short relaxation in the time, the per-
A TEM., (abbrev.) former must return to the eee degree of
movement,
- A TEMPO DI GAVOTTA, (Z.) in the time of a gavot; mod-
erately quick.
GIUSTO, (Z.) in strict and equal time.
ORDINARIO, (J.) in an ordinary or moderate degree
of movement.
———— DELL ALLEGRO, in the time allegro- a quick move-
ment.
A TRE, or A 3, (Z.)
A TROIS, (F.)
ATTACCA, (Z.) implies that the performer must direct y
-~---——_- SUBITO, commence the following movemier :.
, for three voices or instruments.
DICTIONARY OF MUSICAL TERMS- 1
ATIACCATO SUBITO, (Z.) to be commenced immediateiy.
ATTENDANT KEYS, the relative key; the key of the dominant
and its relative, and of the subdominant and its relative.
ATTO, (J.) any act of an opera; as, Atto primo, Atto secondo, — act
the first, act the second.
ATTORI, (J. Pl. mas.)
ATTRICE, (J. Pl. fem.)
ATTO DI CADENZA, (J.) a disposition of the parts which indicates
a cadence; as when, at the end of a strain, the bass rises a fou.th
or falls a fifth.
AUBADE, (F.) a morning concert given in the open air.
AUDACE, con, (J.) with boldness.
AUFHALTUNG, (G.) a suspension.
AUFLOSUNG, (G.) the resolution of a discord.
AUFSCHLAG, (G.) the unaccented part of a bar.
AUFSTRICH, (G.) an up-bow.
AUFTAKT, (G.) - See Aufschilag.
AUGMENTATION. In counterpoint and fugue this term impliea
that a subject is imitated in notes of greater length.
AUGMENTED INTERVALS, those which are a semitone greater
than the major or perfect intervals.
AUGMENTED, an epithet applied’to such intervals as are more
than major or perfect.
AULETES, from the Greek, signifying a flute-player.
A UNA CORDA. (J.) on one string.
AUS, (G.) from, out, of, occurs in German titles.
AUSARBEITUNG, (G.) the elaboration or last fimsh of a musical
composition.
AUSDEHNUNG, (G.) wieilstih, expansion.
AUSDRUCK, (G.) expression.
AUSFUHRUNG,. (G.) performance.
AUSHALTUNG, (G.) the sustaining a note.
AUSHALTUNGSZEICHEN, (G.) the character called a pause.
AUSWEICHUNG, (G.) modulation.
AUTENTICO, (1.) authentic.
AUTHENTIC, a name given to those church modes whose snaeity
was confined within the limits of the tonic (or final) and its ce-
tave.
AUTOS SACRAMENTALES, (from the Greek,) theatrical repre
2
: the principal singers in an opera.
18 DICTIONARY OF MUSICAL TERMS.
sentations which the Spaniards formerly made in their churches #
public religious festivals.
AUTHENTIC CADENCE, a perfect or final cadence in any key.
47TXILIARY NOTES, a term applied to such notes as stand on
the next degree of the stave above or below any
principal note.
SCALES, scales of the relative keys belonging to
any principal key. :
AVE MARIA, (L.) a hymn to the Virgin.
AVENA, (Z.) an oaten straw. This reed is supposed to haye been
the third kind of musical instrument used by the ancients, and
succeeded that formed of the horns of quadrupeds. The first was
formed of shells.
A VISTA, (I) at sight; @ prima vista, at sight.
AZIONE SACRA, (J.) a sacred drama,
———
B.
BACCHIA, a Kamschatdale dance in 3 time.
BACCHIUS, a musical foot, consisting of one short and two long
notes.
_BACCIOCOLO, (J/.) a musical instrument common in some partt
of Tuscany.
BACHELOR OF MUSIC, the first musical degree taken at the
English universities. Abbreviated, Mus. Bac.
BADINAGE, (F.) playfulness.
BAISSER, (F.) to lower or flatten in pitch.
BALKEN, (G.) the bass-bar of a violin, &c.
BALLAD, a short and familiar song.
BALLATA,
prema , (L.) a ballad.
BALLET, (F.) a theatrical representation of some story or fa-
BALLETTO, (J.) : ble, by means of dance or metrical action,
accompanied with music. In England, the second‘ or concluding
piece of the evening’s entertainment at the Italian Opera House is
generally a ballet.
BALLET-MASTER, the artist whose province it is to sapetintend
the rehearsals and performance of the ballet; and who not unfre
quently invents the fable and its details himself.
DICTIONARY OF MUSICAL TERMS. 19
BALLI NGLESI, (J. Pi.) English country dances. __
-—— JELLA STIRIA, (J. Pi.) Styrian dances resembling
waltzes.
—— UNGARESI, (J. Pi.) Hungarian dances in 3 time, usually
accented on the weak part of the bar.
BALLO, (J.) a dance, or dance tune.
BANDA, (I.) a band.
BANDORE, an ancient stringed instrument of the lute spe-
BANDORA, (Z.) ; cies. :
BAR, lines drawn across the stave to divide the music in small and
equal portions of duration; each of these small portions in them-
selves is also called a bar.
3ARCAROLLE, (J.) airs sung by the Venetian gondoliers, or boat-
men, while following their avocations. These melodies possess a
simple and artless beauty, equally delightful to the unpractised
and to the most cultivated ear.
BARCARUOLA, the song of the Venetian gondoliers.
BARD, a poet and musician.
BARITONE CLEF, the F clef placed on the third line.
BARITON, (F.) ) a male voice, intermediate, in respect to pitch,
BARITONE, between the bass and the tenor voices. Tam-
BARITONO, (J.) burini, Badicalle, and H.- Phillips are fine
examples of this species of voice.
BAROCCO, (J.) 2 terms applied to music having a confused har-
BAROQUE, (F.) ; mony, an unnatural melody, and full of mod-
ulations and discords.
BARRE, (F.) a term used in playing the guitar. It implies that a
temporary nut is to be formed by means of the fore finger of the
left hand.
BARRE DE MESURE, (F.) a bar line.
— REPETITION, (f.) a dotted double bar.
BAS-DESSUS, (F.) a mezzo-soprano or second treble voice.
BASS, or BASE, the lowest part in music.
BASSA, (1) lower; as, Ottave bassa, play an octave lower than the
nofss are written.
BASSE, (F.) the bass part in general, instrumental or vocal
«———-— CHIFFREE, (F.) a bass figured to indicate the chords of
harmony.
--—-- CHANTANTE, (F.) the vocal bass,
£0 DICTIONARY OF MUSICAL TERMS
. BASSE CONTRAINTE, (F.) a ground bass.
— — FONDAMENTALE, (F.) the fundamental bass composed
of only the roots of the chords which form tle harmonic
tissue.
FIGUREE, (F.) the figured bass.
BASSGHIGE, (G.) the violoncello.
BASSETTO, (J.) a diminutive term, implying the little bass.
BASSO, (Z.) the bass part.
BUFFO, (J.) the first bass singer in a comic opera.
——- CANTANTE, (J.) the first bass singer in a seriows opera
CONCERTANTE, the lighter or more delicate parts of +
composition performed by the violoncello or bassoon.
——— CONTINUO, a bass that is figured, to indicate the har
mony.
——-— COSTULTO, (Z.) ground or constrained bass.
FIGURATO, (J.) the figured bass:
FONDAMENTALE, (J.) the fundarental bass.
NUMERATO, (J.) the figured bass.
OSTINATO, (J.) a ground bass.
PRIMO, the first bass.
RECITANTE, bass of the small chorus.
—— RIVOLTATO, (Z.) a term used to signify that bass which,
instead of being the fundamental or lowest note of the
chord to which it is applied, consists of the third or fifth
of the fundamental note.
RIPIENO, (J.) in instrumental music, implies the bass
part to the ¢utt? passages.
—— — SECONDO, the second bass.
BASS-COUNTER, or CONTRA-BASS, the under-bass. That
part which, when there are two basses in a composition, is
performed by the double basses.
VIOL, a stringed instrument in the form of a violin, but
much larger. It has four strings and eight stops, which are sub-
divided into semi-stops, and is performed on with a bow.
BASSON, (F.) bassoon.
BASSOON, a wind instrument.
BASSOONIST, a performer on the bassoon.
BASSUS, an old Latin term for the fundamental sv mds of a. har
mony,
DICTIUNARY OF MUSICAL TERMS. Qi
a cm , (G.) the bass clet,
BASTANTE, (J.) enough, sufficient.
BATON DE MESURE, (F.) the roll of paper or other materia
with which the conductor of an orchestra marks the time. ©
nec Sema 0 Ne f that species of shake called a beat.
BATTRE LA MESURE, (F.) to mark the time by beating wits
the hand or with a stick, &c., to beat time.
BATTUTA, (J.) time, the accented part of the bar.
BATTERE, the down beat.
BAU, (G.) the structure, speaking of musical instruments, &c.
B CANCELLATUM, (L.) a sharp, (#.)
B DUR, (G.) the key of B flat major.
BEAT, one of the principal graces in music.
BEATING TIME, marking the divisions of the bar by means of the
hand or foot.
BECARRE, (F.) a natural, (4.)
BEC, (F.)
BECCO, (1)
— POLACCO, (J.) the name of a large species of bagpipe,
used in some parts of Italy.
BECKEN, a Turkish musical instrument.
BEGEISTERUNG, (G.) exaltation, excitement, poetical enthu-
siasm.
BEGLEITENDE STIMMEN, (G. P/.) the accompanying parts.
BEGLEITER, (G.) an accompanist.
BEGLEITUNG, (G.) an accompaniment.
BE].1,, a well-known pulsative metallic — ranked among
musical instruments.
-——— OF A TRUMPET, HORN, &c., the wide, lower opening
from which the soun 1 is emitted.
— -— METRONOME, a metronome with the addition of a small
bell which strikes at the commencement of each bar.
-—-— TONE, a tone of voice of a remarkably clear, musical flow.
~——- HARP, a very old instrument, supposed to be the lyra o1
; cithara of the ancients.
»-—— METALLO DI VOCE, bell-like brilliancy and fullness of .
voice
, the mouthpiece of a clarinet.
22 DICTIONARY OF MUSICAL TERMS.
BELLEZZA, con, (I.) with beauty of expression.
-——_—_———- DELLA VOCE, a beautiful, melodioas voice.
BELLICOZAMENTE, (J.) in a martial style.
BEMOLIZZARE, (I.) to depress the pitch of the natural notes by
applying a flat to them.
Sean es : flat ; as, Si bemolle, B flat.
phe , (Z.) well; as,
BENEDICTUS, (Z.) a movement belonging to a mass of Remen
Catholic morning service.
BENE PLACITO, (Z.) at will.
BEN MARCATO, (J.) well marked. ‘This expression indicates
that the passage must be executed in a clear, distinct, and strongly
accented manner:
BEQUADO, (J.
paqtARie a ; = nantes Aa?
BESCHREIBUNG, (G.) a description.
BEYSPEIL, (G.) an example.
BIANCA, (Z.) a minim.
BICINIUM, (L.) a composition in two parts.
BINARY MEASURE, common time.
BINDUNG, (G.) syncopation.
BINDUNGSZEICHEN, (G.) a tie or bina.
B IN ALT, the third note in alt.
B IN ALTISSIMO, the third note in altissimo.
BIRN, (G.) that part of a clarinet and basset-horn into which the
mouthpiece is inserted.
BIS, (Z.) twice. A term which indicates that a certain passage,
distinguished by a curve drawn over or under it, must be per-
formed twice; this abbreviation saves writing the passage over
again.
BISCHERO, (J.) a peg of a violin, violoncello, &c.
BISCROMA, (I.)
RISCROME, (F.)
BIS DIAPASON, a double octave.
.BIS UNCA, the old name for a semiquaver.
BISINIA, a term used in piano music to denote that nctes pez-
formed by one hand are repeated by the other.
; a semiquaver.
DICTIONARY OF MUSICAL TERMS. 23
BIZZARO, (T.) a term which denotes that the movement to which
this is prefi ced is written in an irregular and fantastic style.
BLANCHE, ‘F.) a minim.
BLASEBAILtE, (G.) the bellows of an organ.
BLASINST)..JMENT, (G.) a wind instrument.
BLASMUSI4, (G.) music for wind instruments.
B MOLL, (%.) the key of B flat minor.
BOCAL, (F.) the mouthpiece of a horn, trombone, or ser
BOCCHIN”’), W.) pent. -
BODEN, (&) the back of a violin, tenor, &c.
BOGEN, (G.) the bow.
BOGENFUH RUNG, (G.) the management of the bow.
BOGENINSYRUMENT, (G.) a bow instrument.
BOssENSTRICH, (G.) a stroke of the bow.
BOLER®, »e. Spanish dance with castanets.
BOMBAR DX, (F.) 2 an old wind instrument of the hautboy spe.
BOMBAKDVO, (Z.) cies.
BOMEX, a Greek instrument, formed of reeds.
BOhDONE, (1.)
BOUDON, (F.)
BOUT BREE, (F.) a lively dance, in common time, beginning with
an 94d crotchet.
BOUT FADE, an impromptu ballet in a fanciful style. - ~
BOY., s round stick haying little projections at each end to hold
th: \.airs, which form the effective part.
B Q'{aADRATUM, (Z.) a term applied by the older theorists to the
chi tecter now called a natural.
BRA WuE, (F.) an old dance.
BRA $3,CHE, (G.) the tenor violin.
BRA ¥'), BRAVA, BRAVI, (J.) an exclamation of approval used
in tetian theatres. The first term is masculine, the second femi-
nb », and the third plural.
BRA /URA, con, (J.) with vigor, with boldness.
BRA (XD POINTS, points having braces over them, showing that
the notes over which they are placed are to be performed in a
sty between that of legato and staccato.
BRA ‘Ks, curved or straight lines indicating that the notes which
th» ¥ connect are to be played or sung together.
BRA {IU, or BRAZZO, a terta applied to certain instruments thaf
, the double open diapason stop in an organ.
24° DICTIONARY OF MUSICAL TERMS.
are played with a bow, and held up to the neck by the left arm,
as the violin.
BRIOSO, (J.} with brilliancy and spirit.
BRIDGE, that part of a stringed instrument over which the strings
are drawn.
BRODERIES, an old term applied by the French to casual, un-
studied ornaments in performance.
B ROTUNDUM, (L.) A flat, ( b.)
BRUSCAMENTE, (J.) abruptly, coarsely.
BUCCINA, a wind instrument used by ancient sol:iers. ‘ :
(J.) comic. An actor or singer who takes the light and
BUFFA, humorous parts in the Italian comic opera. This epi-
BUFFO, thet is also applied to the pieces themselves ; as, opera
: buffa, a comic opera..
BUFFET ORGAN, a very small organ.
BUFFO CARICATO, singing in caricature.
BUON CANTATE, a well-informed vocalist.
—— GUSTO, a performance in the best style, by one whose
taste is unexceptionable.
-———— MANO, a performer having perfect command of the mos
brilliant and effective styles.
BURLANDO, (J.) in a jesting and playful manner.
BURLESCO, .(7.) with extravagant and even buriesque humor.
BURLA, comical, with great humor.
‘BURDEN, that part of a song which is repeated at the end of
every stanza.
BURLETTA, (J.) a light species of musical drama, somewhat in
the nature of the English farce.
Cc.
CABALETTA, (J.) a simple melody, of a pleasing and attractive
character.
CACCIA, alla, (J.) in the hunting style.
CACOPHONY, a discordant combination of sounds, fo‘ming no
regular harmony.
YADENCE, (F.) a shake; also a cadence in harmony; as, cadence
parfaite, a perfect cadence ; cadence rompue, an interrupted - scence.
-CAMPANELLA,
DICTIONARY OF MUSICAL TERMS. 25
&
CADENCE, a close in melody or harmony. An ornamental and
extemporaneous passage introduced at the close of a song or
piece of music.
YADENCE INTERROMPUE,
-——__—— ROMPUE,
————— IMPARFAITE, (F.) an imperfect cadence.
——_———- PARFAITE, (F-) a perfect cadence.
CADENZA, (I.) a cadence, or close, at the termination of a song
- or other movement, introducing some fanciful and extemporaneous
embellishment. In modern music the cadenza is generally writ-
ten in small notes.
D’INGANNO, (J.) an interrupted cadence.
SOSPESA, a suspended cadence.
CHESURA, (Z.) the rhythmic termination of any passage consisting
of more than one musical foot. The last accented note of a
phrase, section, orperiod.
CALAMUS PASTORALIS, (one of the first instruments used,}
a simple reed or cane.
CALANDO, (I.) gradually diminishing in tone and quickneés, be-
coming softer and slower by degrees.
CALASCIONE, (J.) a species of guitar.
CALCANDO, (J.) pressing upon, hurrying the time,
CALMA, con,
CALMATO,
CALORE, con, She 5
CALOROSO, ; (1) with much warmth and animation,
CAMBIARE, (J.) to change.
CAMERA, (J.) the chamber; as, musica di camera, chamber music,
CAMINARDO, (J.) flowing, with gentle and easy progression.
CAMPANELLO : (1) a little bell.
CAMPANELLINO, (Z.) a very little bell.
CAN, Welsh for song.
CANARIE, (F.) oat okie ack
CANARIES, a jig in § or § time.
CANCRIZANS, retrograde movement.
CANON, a species of uninterrupted imitation.
CANONE, (J.) a canon, or catch for several voices or instru:
ments,
: (F.) an interrupted cadence.
: (Z.) with tranquillity and repose.
96 DICTIONARY OF MUSICAL: TERMS.
CANUNE AL SOSPERO, (J/.) @ canon, the parts of whi.h come
in at the distance of a crotchet rest from each other.
APERTO, (J.) an open canon.
CHIUSO, (J.) a canon in which the solution must. be
discovered, sometimes an enigmatic canon.
CANTABILE, (J.) in a melodious, graceful, and singing style.
The performance should be smooth, elegant, and replete with
feeling.
CANTANDO, (1.) This word, placed over a piano-forte passage,
indicates that the sounds must. be blended softly into each other,
as in singing.
CANTANTE, (I.) a part which is intended for the voice.
CANTARE, (I.) to sing.
A ORECCHIO, (J.) to sing by ear; that is, without
a knowledge of musical notation.
iro eee A ARIA, (1) to sing crags 03 confining one’s self te
the music written.
———-——«— DI MANIERA, (JI.) to sing with a profusion of em-
bellishments, without taste or discernment.
CANTATA, (1.) a species of composition for one voice, consisting
of an intermixture of air aud recitative.
CANTATRICE, (I.) a female singer.
Loeuliearggs ; (I.) a short cantata.
CANTICA, (Z.)
CANTICI, (1.)
CANTICLE, a hymn, or divine song.
CANTICUM, (L.) a canticle, or divine song.
CANTILENA, (J.) the melody, air, or principal part in any com-
position, generally the highest vocal part.
CANTO, (J.) the highest vocal part in choral music.
FERMO, (JI.) a chant or melody ; as also any subject con-
sisting of a few long, plain notes, given ass there fer
counterpoint.
——— — FIGURATO, (J.) a figured melody. ~
-———— GREGORIANO, (J.) the Gregorian | Chant,
PM, eee oe ; the plain song or peak:
—...—- PRIMO, (J.) the first treble.
, canticles, or devotional songs.
DICTIONARY OF MUSICAL TERME. 27
wHANTO RECITATIVE, the combination of an air and a recite-
tive.
-——_——- SECONDO, (J.) the second treble.
CANTOR, i
CANTORE, : (7.) a singer.
CANTORIS, a term used in cathedral music, to indicate the pas-
sages intended to be taken by those singers wno are placed on
that side of the building where the cantor or precentor sits; that
is, on the left hand side on entering the choir from the nave.
CANTUS, (L.) a song, chant, or melody ; as,
—————- AMBROSIANUS, the melodies or chants introduced
into the church by St. Ambrose.
MENSURABILIS, a measured melody.
FIRMUS, (L.) the plain song, or chant.
FIGURATUS, (L.) embellished or figurate :melodies or
chants.
— —— GREGORIANTUS, the chants collected by St. Gregory.
CANTADOURS, strolling singers.
CANTICZ, short interludes.
CANTILENA SCOTICA, an old and favorite Scotch air.
CANTORATE, the office or residence of a cantor.
CANUN, a Turkish stringed instrument.
CANZONE, (J.) an air in two or three parts.
CANCHERIZANTE, (I.) This term denotes that the piece is
played in a retrograde style, beginning at the end and going back
to the commencement.
CANZONET,
CANZONETTA, ; (J.) a short canzone, or song.
CAOINAN, an Irish requiem.
CAPO, (J.) the head or beginning.
CAPOTASTO, (J.) the nut of the finger-board of a violin, violon-
cello, &c.
CAPRICCIO, (J.) a fanciful and irregular species of compositior.
CAPRICCIOSO, A CAPRICCIO, (J.) in a fanciful, capricious style
CAPRICCIETTO, (1.) a short capriccio,
CAPRICE, (F.) a capriccio.
CAPISCOLUS, the leader of a band or choir.
CAPO D’ ASTRO, sometimes vsed instead of capotasto, to signify
the principal bridge.
He
28 DICTIONARY OF MUSICAL TERMS.
CAPISTRUM, from the Greek; a kind of muzzle used by ths
ancient trumpeters, so formed as to extend horizontally across the
face, and embrace and confine the cheeks, to prevent their burst-
ing with the violence with which they blew the instrument; an
accident to which, without such precaution, the performer was
liable.
CARILLONEUR, (F.) a performer on the carillons.
UARTA, (abbreviated car. or cart,) used by the Italians for page
or folio.
CAREZZANDO, (J.) in a caressing or coaxing style.
CARICATO, (J.) in a caricatured or exaggerated manner.
‘CARILLONS, (F.) chimes, cons‘sting of bells diatonically tuned,
on which airs are played by clock-work.
CARITA, CON CARITA, (J.) with tenderness.
CAROL, the name applied to the old ballads sung at Christmas by
itinerant minstrels.
CARRATTERE, (J.) character; as, con molto carrattere, with much
character. _
CARACTERES DE MUSIQUE, a French term applied to musical
signs collectively.
CAROLA, (I.) synonymous with ballata ; a simple song sung to «
dance.
CASSA, chest or box.
GRANDE, (J.) the great drum in military music.
_ CASTAGNETS, or CASTANETS, hollow shells used to accom
pany dance tunes in Spain and other southern eountries.
CASTANETAS, ,
ZASTANUELAS, ; (S.) the castagnets or castanets.
CAS1UnION, a melody performed by the Greeks just previous te
an a.tack. : :
CASTRATO, an artificially formed soprano or treble singer.
CATACOUSTICS, that part of acoustics which considers the
property of sounds and echoes.
CATTIVO, bad, unfit ; as, cattivo tempo is a certain part or time of
the measure, whereon it is not proper to perform certain th*ngs
as, to end a cadence, place a long syllable, &c.
CATCH, a humorous composition for three or four voices, s¢ con:
' trived that the singers catch up each other’s sentences.
CATENA DI TRILLI, (7.) a chain or succession of shakes,
+
DICTIONARY OF MUSICAL TERMS. 23
JAUDA. See Coda and Virgula.
~AVALQUET, or LE MARCHE, a trumpet signal for the march
of cavalry.
CAVATA, a small song, sometimes preceded by a recitative.
CAVATINA, (I.) an air of one movement or part only, occasion
ally preceded by a recitative.
C BARRE, (F.) the character ¢ indicating alla breve time.
C DUR, (G.) the key of C major.
CEBELL, the name of an old air written in common time.
CELERE, (J.) quick, rapid.
- CELERITA, con, (J.) with celerity, quick.
CELESTE, (F.) indicates the employment of the pedal, in some
piano-fortes, which acts on the celestina, or soft stop.
CEMBALO, (J.) the harpsichord.
CENTONE, a sort of medley on a large scale, being several tunes
connected by appropriate passages.
CEPHALICAS, the name of one of the musical characters of nota-
tion used in the middle ages.
CERVALET, a short wind instrument.
CES, (G.) C flat.
CHACONNE, (F.) an air constructed on a ground bass; a Spanish
dance.
CHALUMEAU, (F.) an ancient rustic flute. When this word oc-
curs in music written for the clarinet, it signifies that the passage
to which it refers must be played an octave lower.
CHANGEABLE, said of those chants which may be performed
either in the major or minor key of the tonic in which they are
written.
CHANGING NOTES, passing notes on the accented parts of a
bar.
CHANSON, (F.) a song. ,
CHANSONNETTE, (F.) a short or little song.
CHANSONS DE GESTE, (F.) historical romances, sung by min- ©
strels of the 13th century.
CHANT, a simple melody, generally harmonized, in four parts, to
which the daily psalms are sung in cathedrals, &c. See Sings
Chant and Double Chant.
CHANT, (F.) a song or melody, the vocal part.
CHANT GREGORIEN, (F.) the Gregorian Chant.
3*
30 DICTIONARY OF MUSICAL TERMS.
CHANT SUR LE LIVRE, (F.) a barbarous kind of counterpoint
on the plain chant, performed by several — each singing ex.
tempore.
CHANTANT, (F.) in a singing manner.
CHANTERELLE, (F.) the first string of the violin or guitar.
CHANTEDR, (f.) a male vocalist.
CHANTEUSE, (F.) a female vocalist.
CHANT EN ISON, psalmody of only two notes.
CHANTRE, (F.) the leader of a choir.
CHANTERRES, Provencial singers of songs and ballads.
CHANTRY PRIESTS, certain stipendiary priests, whose particular
office it was to sing mass in the chantries.
CHANTRIES, institutions in the Romish church, endowed for the
purpose of singing masses for the founders.
CHAMADE, a beat of the drum, or sound of trumpet, to indicate te
an enemy a willingness to capitulate, make a truce, or the like.
CHASSE, (F.) in the hunting style.
CHE, (J.) than; as, poco pi che andante, a little slower than an-
dante.
CHELYS, (Gk.) a stringed instrument of the lute species.
CHEVALET, (F.) the bridge ™ any instrument of the violin spe-
cies.
CHEVILLE, (F.) the peg of a violin, tenor, violoncello, &c.
CHERUBICAL HYMN, a hymn of great note in the early Christian
church.
CHEST OF VIOLS, an old expression applied to a set of viols,
consisting of six, the particular use of which was to play fantasias
iv sk. parts.
€ ATAREZZA, con, (I.) with clearness and neatness.
«FAAKO, (J.) clear, as regards sound or tone.
(AIAROSCURO, (1.) light and shade, in modifications of forte and
qvano.
CHIAVE, (1.) a clef or key.
LLIRCGYMNASTE, a square board on which are placed various
mechanical contrivances for exercising the fingers of the pianist.
CHIESA, (J.) church; as, musica di chiesa, music for the church.
CHIUFRES, (F.) figures, in speaking of thorough-bass.
C*XXIROPLAST, an instrument for the guidance of the hands ang
Lagers of young practitioners on the piano-forte.
DICTIONARY OF MUSICAL TERMS. ol
tSHIUL ENDO, (2) concluding; as, chiudendo col motir», conciud.
ing with the subject. ;
CHITARRA, (J.) a guitar.
CHIMES, a kind of periodical music on bells, produced at equa
intervals by means of an apparatus added to a clock, or by a reg:
_ ular performer.
CHO, Scotch name for a double trumpet having great power of tone,
CHDR, (F.) the choir, or chorus.
CHOIR, that portion of a chapel or cathedral set apart for the sing.
ers in divine worship; as also the singers themselves, taken col-
lectively.
CHOIR ORGAN, the smaller or softer toned organ, used to accom:
pany the principal singers in solos, duets, &c.
CHOR, (G.) choir, chorus; as, arie und chor, air and chorus,
CHORAL, belonging to the choir ; full, or for many voices.
CHORAL, (G.) a psalm tune.
CHORALMASSIG, (G.) in the style of a psalm tune.
CHORD, a combination of several sounds forming harmony.
CHORDOMETER, an instrument by which to ascertain the strength
of strings.
CHORIAMBUS, a musical foot, accented thus: -~ vy —,
CHORISTER, the leader of a choir. i
CHORUS, a band or company of singers.
CHORSANGER, (G.) a chorus singer.
CHORIST, a member of a choir.
CHORION, a Greek composition, consisting of a hymn sung in
honor of Cybele, the mother of the heathen gods.
CHORO-FAVORITO, (J.) a chorus in which the best voices and
instruments are employed.
RECITANTE, same as Choro-Favorito.
CHROMA, a term signifying a graceful style of singing.
CHROMATIC, proceeding by semitones, or formed by means of
semitones.
CHROMATIQUE, (F.) chromatic, proceeding by semitones.
CHURCH MODES, the ancient modes called by the following
names: Dorian, Phrygian, Lydian, Mixolydian, Aolian, Ionian o#
Iastian.
fIACONNE, ‘I.) a chaconne, a Spanish dance.
CIMBALLES, (F. #4.) cymbals, a military instrument,
-B2 DICTIONARY OF MUSICAL TERMS.
CINQUE, a composition intended for five voices. ,
CIS, (G.) C sharp; as,
—- DUR, C sharp major.
—— MOLL, C sharp minor.
CISCIS, (G.) C double sharp.
CITHARA, an ancient instrument of the harp kind,
———— HISPANICA, Spanish guitar.”
CITHARISTIC, music intended for the harp or guitar.
CITTAM, old English name of the guitar.
CITOLE, an instrument of the dulcimer species, and probably
synonymous with it. —
- CITTERN, an old instrument resembling the lute.
CIVETTERIA, (J.) coquettishly.
CLARIBELLA, the name of an organ stop tuned in uniscn with
the diapasons.
CLARICHORD,
CLAVICHORD,
CLARINET, a wind instrument blown with a reed.
CLARINETTO, (J.) the clarinet.
CLARINETTISTA,
©LARINETTISTE,
CLARINO, (J.) the Italian name for trumpet.
» (L)
CLARION, (F.)
CLANGOR, a loud, shrill sound, peculiar to the trumpet. t
— TUBARUM, an old Roman trumpet.
CLAPPER, a piece of metal suspended in a bell, which, striking the
lower end of the barrel, produces the sound.
CLAUSULA AFFINALIS, (Z.) a cadence in a key related to the
predominant, one of the piece.
DISSECTA, (L.) half cadence.
PEREGRINA, (L.) @ cadence in a key the funda-
mental tone of which is not in the scale of the prin-
cipal key.
—_—_—_——_—_— PRIMARIA,, (L.) the cadence in the principal key-
SECUNDARIA, (L.) the cadence in the fifth.
MEDIANS, the cadence in a minor key when in th! ©
key of a third.
CLAVIER, (I, G.) the key-board of a piano or organ.
z a small keyed instrument of the spinet kind
(Z.) a performer on the clarinet.
, an octave trumpet, an organ stop so called.
oe
_—— —
DICTIONARY OF MUSICAL TERMS. 3a
CLAVI'CIN, (F.) a harpsichord.
CLAVICEMBALO, (1.) ‘
sLAVICEMBALUM, (L.) ‘ sacha wrth
CLAVES SIGNATZ, a term applied to a key which was marked
and thus became the fundamental note of the scale.
CLAVIS, (Z.) a key.
CLAVIOTHERIUM, an ancient, oblong, keyed instrument.
CLEFS, characters serving to determine the names and acuteness
or gravity of every note in the stave to which they are prefixed.
CLEF DE FA, (F.) the F, or bass clef, marked thus, @:
SOL, (F.) the G, or treble clef,
—— D'UT, (F,) the C clef, N
|
CLINIS, name given by the Greek musicians of the middle ages toe
one of their notes.
CLOCHETTE, (F.) a little bell.
CLORONE, a species of clarinet which is a fifth lonect than the C
clarinet.
CLOSE PLAIN SHAKE, that of a semitone, rapid, though with
less energy than the open shake.
— TURNED SHAKE, that which ends with a turn.
C MOLL, (G.) C minor,
CODA, (1.) a few bars added at the close of a composition, beyond
its natural termination.
CODETTA, (J.) a short passage serving to connect one period o1
movement with another.
COI, (Pi)
SOL,
COLL’, (1.) with the.
COLLA,
COLLO,
COT VIOLINI, (Z.) with the violins.
COL ARCO, a mark in a piece to indicate the use of the bow.
~—— BASSO, (J.) with the bass.
—— LEGNO DELL’ ARCO, (J.) with the bow-stick.
—— CANTO (I.) with the melody or voice. These expres
COLLA VOCE ; sions imply that the accompanis$ must follow
3
the singer in regard to time.
34 ’ DICTIONARY OF MUSICAL TERMS.
COLLA PAPTE, (J.) implies that the accompanist must follow
the principa. part in regard to time.
COLL’ ARCO, (J.) with the bow.
COLOFONIA, (1.)
COLOPHON, (F.)
COLLA PUNTA DELL ARCO, employ the point of the bow.
COLORATURA, every variety of musical ornament.
COME, (J.) as.
—— PRIMA, (Z.) as before.
—— SOPRA, (J.) as above or before.
—— STA, (J) as it stands.
COMES, (L.) the answer of a fague.
COMMA, (J.) a small interval, treated of in the doctrine of musicat
ratios.
COMMENGCANT, (F.) a beginner in music, &e.
COMMODO, con,
COMMODAMENTE,
COMMON CHORD, a chord consisting of a bass note together
with its third and fifth, to which the octave is often
added. :
—— TIMES, those which have an even number of parts
in a bar.
COMPASS, the range of notes comprehended by any voice or in-
strument.
COMPIACEVOLE, (J.) pleasing, attractive.
COMPIACEVOLMENTE, in a pleasant and agreeable style. .
COMPIETA, a psalm or hymn used in the Romish church service.
COMPLIN, (L.) evening service during Lent, in the Catholi«
church. |
COMPOSITEDUR, (F.)
COMPOSITORE, (J.)
COMPOSITION. Any musical production is so called. The art of
inventing music.
COMPONERE, (J.) to compose.
COMPOSURA, (Z.) a composition.
COMPOSIZIONE, (J.) a musical composition.
COMPOSIZIONE DI TAVOLINO, (J.) table music; as, gleeg
catches, &c.
COMP2DSTO, (J.) composed.
: resin.
; (Z.) quietly, with composure.
, a composer.
OMPOUND INTERVALS, such as exceed the extent of ar
DICTIONARY OF MUSICAL TERMS.
octave.
TIMES, those measures which contain two or three
principal accents; as, , 4%, 8, &e.
six eighth notes in a measure.
notes in a measure,.
COMPONISTA, a composer of music.
COMPUTATRICES, (Z.) name given to those women whom the
ancients hired to sing and weep over the dead at funerals.
COMPLEMENT, that quantity which is wanting to any interval %
fill up the octave.
WON, (2) with.
RUE CT USSD (Ge eae: be
AFFETTQ, (Z.) in an affecting manner.
seperti ; (Z.) with affliction and distress.
ANIMA, (J.) with animation and feeling.
AUDACE, (Z.) with boldness.
B.. Z.) with brilliancy and spirit.
CELER.iA, (/.) with quickness.
COMMODO, (Z.) in a convenient degree of movement.
DILIGENZA, (J.) diligently, in a studied manner.
DELICATEZZA, (J.) with peculiar sweetness.
DOLCE MANIERA, (J.) in a simple, delicate manna
DISCREZIONE, (J.) with discretion.
DISPERAZIONE, (J.) with despair.
DOLCEZZA, (J.) with sw: etness.
meas. : (I.) mournfully, y.ith grief and pathos,
ELEGANZA, (I.) with elegance.
ENERGIA, (J.) with energy.
ENTUSIASMO, (J.) with enthusiasm,
ESPRESSIONE, (J.) with expression.
FACILITA, (J.) with facility.
FORZA, (J.)} with force, vehemently.
FUOCO, (J.) with fire and animation.
FURIA, (J.) furiously, with vehemence.
FIESSIBILITA, (J.) flexible, unconstrained.
COMMON TIME, a time containing six ae or
TRIPLE TIME, a time with nine quarter or eighth
36
DICTIONARY OF MUSICAL TERME
CON GENTILEZZA, (J.) with grace and elegance.
|
GIUSTEZZA, (I.) with precision. _
DELL’ INTONAZIONE, (J.) with « pprcpriate
intonation. : ;
GRAVITA, (J.) with gravity. .
GRAZIA, (J.) with grace and elegance.
GUSTO, GUSTOSO, (J.) tastefully.
IMPETO, (J.) with force.
eae Bak
|
DOLOROSO, (J.) with pathetic foree and energy.
INDIFFERENSA, in an easy, indifferent manner.
INNOCENZA, (J.) in an artless and innocent style.
JUSTO, (JI.) with exact precision.
LEGGIEREZZA, (J.) with lightness and delicacy.
LENTEZZA, (J.) with slowness.
MISTERO, (J.) with an air of mystery.
MODERAZIONE, (J.) with a moderate degree of quickness.
MOLTO PASSIONE, (J.) in a highly feeling and affecting
style. ary
SENTIMENTO, (Z.) with much feeling or senti-
ment,
MORBIDEZZA, (I.) with excess of delicacy.
MOTO, (J.) with somewhat of an agitated expression.
NEGLIGENZA, (J.) negligently, without restraint.
OSSERVANZA, (J.) with scrupulous exactness in regard *
time.
PIACEVOLEZZA, (J.) in a pleasing and graceful style.
PRECIPITAZIONE, (J.) in a hurried manner.
PRECISIONE, (J.) with distinctness and precisicn.
PRESTEZZA, (J.) with rapidity.
RABBIA, (J.) with rage, furiously.
RAPIDITA, (J.), with rapidity.
RISOLUZIONE, (J.) with boldness and resoJ-ution
SDEGNO, (J.) in a fiery and indignant styie.
SEMPLICITA, (J.) with simplicity.
SENSIBILITA, (Z.) with sensibility and feeling.
SENTIMENTO, (Z.) with feeling and sentiment.
STRUMENTI, (Z.) a performance with voices and instrum 2nts
united.
SONORITA, (J.) with a full, vibrating kind of tone.
DICTIONARY OF MUSICAL TERMS. 37
CON SORDINI, (/.) with mutes.
—— SPIRITO, (/.) with quickness and spirit.
_—- SOLENNITA, (J.) with solemnity.
—— SUAVITA, (J.) with sweetness and delicacy.
-—— TENEREZZA, (J.) with tenderness.
-—-— TEPIDITA, (J.) with coldness and indifference.
—— TIMIDEZZA, (J.) with timidity.
— VARIAZIONE, (J.) with variations.
—— VEEMENZA, (J.) forcibly, vehemently.
-~— VIOLENZA, (J.) with violence. 5;
—— VIVEZZA, (I.) with animation, vivaciously.
— ZELO, (J.) with zeal.
CONCENTO, (J.) concord, the consonance of voices and instru:
ments,
CONCENTRARE, (J.) to concentrate the sounds.
CONCERT, a musical performance, in which several persons are
engaged.
CONCERTANTE, (I.) a piece of music for an orchestra, in which
several of the instruments have occasional solos. It is also used
adjectively ; as, duo concertante, a duet in which each part is alter-
nately principal and subordinate.
CONCERTINA, (J.) a small sexangular musical instrument held
in the hands. The sounds are produced from metal tongues by
pressing the fingers upon the keys, which are situated on both
sides of the instrument, and at the same time moving the bellows,
to obtain the necessary supply of wind.
fONCERTINO, (J.) This term always denotes a principal part
in a concerto, or other full piece; as, violino primo concertino,
first principal violin; violino secondo concertino, second principal
violin. ? :
CONCERTO, (J.) a composition intended to display the powers of
some particular instrument, with orchestral accompaniments.
CONCERTO GROSSO, (J.) a composition for many instruments,
some principal, some auxiliary. ;
SPIRITUALE, (J.) a miscellaneous concert, chiefly
of sacred music.
CSONCERT-SPIELER, (G.) a solo-player.
per ARES Sg £f 9? (G.) a concerted piece, a concerto,
GONCINNOUS, harmonizing, coinciding in effect.
4
a8 DICTIONARY OF MUSICAL TERMS.
_CONCITATO, (Z.) perturbed, agitated.
CONCORD, an agreeable combination of sounds.
CONNOISSEUR, (F.) a skilful judge and lover of music
CONSECUTIVE, a term applied to a series of similar ix ervals ot
chords.
CONSEQUENT, the answer of a fugue, or of a point of imitation.
CONSERVATOIRE, (F.) ,
CONSERVATORIO, (LZ) ; © PE he a ee
CONSOLANTE, (J.) in a cheering and encouraging manner.
CONSONANT, those parts which harmonize well with each other
CONSONANCE, an interval agreeable to the ear.
CONTINUATO, (J.) continued or held down or on, speaking o
notes. _
CONTRA-BASSO, (J.) the double bass.
—————_FAGOTTO, (J.) double bassoon.
CONTRALTO, (J.) a counter-tenor voice. The hizhest species ot
male voice, and the lowest of female voices.
CONTRAPUNCKT, (G.) counterpoint.
CONTRAPUNTISTA, (J.) one who understands counterpoint.
CONTRAPUNTO, (J.) counterpoint, the first and most necessary
step towards a knowledge of musical compo-
sition.
SOPRA IL SOGETTO, (J.) counterpoint above
the subject.
SOTTO IL SOGETTO, (J.) counterpoint below
the subject.
ALLA MENTE, (J.) See Chant sur le Livre.
DOPPIO, (J.) double counterpoint.
CONTRASSOGGETTO, (J.) the counter-subject of a fugue.
CONTRASPORTO, (J.) in an angry and passionate manner.
CONTREPOINT, (F.) counterpoint.
CONTREPOINTISTE, (F.) a contrapuntist.
CONTRESUJET, (F.) the counter-subject of a fugue.
CONTRETEMPS, (F.) syncopation — driving notes, or unaccented
and accented notes tied together, contrary to the natural rhythmis
flew of the measure.
CONTRARY MOTION, motion in an opposite direction to some
other part.
CONTRA YIOQLONE, (J.) the double bass.
DICTIONARY OF MUSICAL TERMS. 3g
CONTRE-BASSE, (F.) a double bass.
——- -—— DANSE, (F.) a quadrille or country-dance.
——--——_TEMS, (F.) a change from the time.
CONTINUED HARMONY, a harmony which does not change,
though the bass varies.
CONTINUO, (J.) without cessation.
CONTRA, (J.) low, under, counter.
CONTRO, (J.) counter, low or lower.
CONTRADDANZA, counter-dance.
‘ CONTRARCO, a reversed movement of the bow.
CONJUNCT, (Gk.) employed by the ancients to denote those two
tetrachords which formed the modern scale.
CONDUCTOR, a person who arranges, orders, and directs the
necessary preparations for a concert, and also superintends ana
conducts the performance.
CONDUCTUS, (L.) a species of air much used in the time of
Franco.
COPULA, (Z.) that movement in an organ by which two rows of
keys can be connected together, or the pedals with the keys.
COPERTO, to deaden the sound either by covering or otherwise.
CORNMUSE, a Cornish pipe, similar to a bagpipe.
CORANTO, (J.) a certain air comprising three crotchets in a bar.
COROMEION, (Gé.).a brazen bell much used by the ancients,
CORDATURA, the system by which stringed instruments are
tuned.
CORODICA, a adil performance by more than one voice.
CORONET, a hold.
COR, (F.) a horn.
CORALE, (J.) the plain chant.
CORANTE, (J.) a slow dance in 3 or, 3 time,
CORDA, (J.) 2 a string; as, spre una corda, or “tr une corde, 04
CORDE, (F.) one string.
COR DE CHASSE, (F.) a French horn.
SIGNAL, (F.) a bugle.
CORDIERA, (J.) the tail-piece of a violin, tenor, &c.
CORIPH@US, (Z.) the leader of the dances.
CORNAMUSA, (J.) the bagpipe.
CORNET, the 1ame of an organ stop consisting of several ranks of
pipes.
40 DICTIONARY OF MUSICAL TERMS.
kei O, 3 (Z.) a pipe or English flute.
CORNET A PISTONS, (F.) a species of trumpet with valves.
CORNETTINO, (J.) a small cornet.
CORNISI;, a performer on the horn.
CORNI, (/.) the-horns.
CORNO, (Z.) ahorn. — :
————- DI BASSETTO, (1.) a basset horn.
——— DI CACCIA, (J) a French horn.
INGLESE, (J) an English horn.
CORO, (J.) a chorus, or piece for many voices.
CORONA, (J.) a pause, marked ™.
CORRENTE, (J.) an old dance tune in triple time.
CORYPHEE, (F.) the leader of the groups of dancoet,
COTILLON, (F.) a lively and animated dance in § time.
COUNTER-FUGUE, a fugue in which the gnbinces move in con:
trary- directions.
TENOR, the highest adult male voice, and the loweri
female voice.
CLEF, the clef placed on the third line in
order to accommodate the counter-tenor
voice.
VOICE, that male voice which ranks in height
next above the tenor voice ; also the lowest
female voice.
COUNTERPOINT, the art of composition.
COWNTRY-DANCE, a lively, pointed air, calculated for dancing.
It is not confined to any particular measure, so that any common
song or tune, if cheerful, may become a country-dance.
. COUPS D’ARCHET, (Ff.) strokes of the bow, ways of bowing.
COULE, (F.) a group of two notes connected by a slur.
COUCHED HARP, the spinet.
COURANTE, (F.) an antiquated dance tune in triple time, exam-
ples of which are to be found in Corelli, Handel, Seb. Bach, &c.
COVERED CONSECUTIVES. See Hidden Consecutives.
‘CREDO, (L.) one of the movements of the Catholic service, com
mencing with that word; the Belief.
CREMONA, (J.) a small town in Italy, remarkable as having been
the dw :lling-place of several of the greatest violin-makers, a
Amati, Straduarius, Guarnarius, &c. Also, an organ stop.
DICTIONARY OF MUSICAL TERMS. 4]
“AESCEN DO, (J.) a word intimating a gradual increase of loud-
ness; sometimes expressed thus ——,
E INCALCANDO POCO-A-POCO, (J.) increas-
ing and hastening by degrees.
POCO-A-POCO, (J.) to increase the sound little
by little.
——_——_——— POI DIMINUENDO, (1.) increasing and then di-
minishing the sound.
CREMORN, or CREMORNE, an organ stop of eight fect, of the
reed kind, sometimes called cremona.
CROCHE, (F.)
CROMA, (J.)
CROOKS, small tubes applied to trumpets, horns, &c.; to change
- their pitch and adapt them to the key of the piece in which they
- are to be used.
CROTCHET, a note of which the length is one half that of the
minim in the same piece.
CROMATICA, (J.) chromatic.
CROWLE, an English wind instrument of former times, a kind of
base flute or bassoon.
CROTALUM, (Gé.) an ancient SE REPOS
CRUCIFIXUS EST, (L.) part of the Credo in the Catholic service.
CRWTH, a singular Welsh instrument with six strings, and played
upon with a bow.
C SCHLUSSEL, (G.) the C clef.
CUM SANCTO SPIRITU, (ZL.) part of the Gloria.
——- CANTU, or CUM DIOCANTU, with vocal melody.
CUSTOS, (Z.) a direct.
CYMBALS, those metal plates used in military*bands, and whick
on being struck tegether produce a clashing sound.
CYMBALUM, an instrument of antiquity, similar to the tympanum
or drum.
; a quaver.
D.
DA, (J.) by, for, from, &c.
DA CAMERA, (J.) in the style of chamber music.
PA CAPELLA, (J.) in the church style.
ILA CAPO, or D. C., (.) from the beginning, An expression
4*
42 DICTIONARY OF MUSICAL TERMS.
wii.ch is often written at the end of a movement, to indicate that
the performer must return to and finish with the first strain.
DA CAPO AL FINE, (J.) an expression placed at the end of
movement, signifying that the performer must return to the first
part, and conclude where the word jine is placed.
DACTYL, a musical foot sommponed of one loug and two short
notes.
DACTYLION, a Cae, invented by H. Herz, for strengthening
the fingers, and rendering them independent in piano-forte play-
DAL, (J.), by; as, dal segno, from the sign; a mark of repetitior.
—— TEATRO, (J.) in the style of theatrical music.
DAMPERS, certain movable parts in the internal frame of a
‘ piano-forte, which are covered with cloth, and by means of a
pedal are brought into contact with the wires, in order to deader
the vibration.
DAMPER PEDAL, that pedal of a piano-forte which raises the
dampers from the strings, and thus allows them their full contin-
uous vibration. In piano-forte music, the word ped., or the char-
acter @), is used to indicate when the damper pedal is to be used.
~ANCERIE, a collection of dance tunes.
DANCES, certain tunes composed for, or used in ‘dancing ; ; as, the
waltz, minuet, cotillon, reel, hornpipe, &c.
DANSE, (F.) a dance.
DA TEATRO, (J.) for the theatre.
DAUER, (G.) the duration or length of notes.
D DUR, (G.) D major.
DEBILE, (J.) weakly, faintly.
DEBOLE,, (J.) feebly.
DECANI, (L. Pi.) priests. In cathedral music, this term is used
to indicate those passages that are to be sung by those singers only
who are in holy orders.
DECISO, (J.) in a bold, decided manner.
DECISSIMO, (J.) with greatest decision and firmness of touch,
- DECKE, (G.) the bell of a violin, violoncello, &c.
DECCRATION, (F.) a term used by some French theorists in the
sense of signature.
DECRESCENDO, (J.) diminishing the intensity or force of # |
sound.
DICTIONARY OF MUSICAL TERMS. 43
JECEPTIVE MODULATION, that which leads to an unexpected
melody.
\. ECLAMAD DO, in the recitative style.
DEGREE, (ACADEMIC,) an honor conferred by a university.
DEGREE, (THEORETICAL,) the difference of position cr eleva-
tion between two notes. —
DEGRE, (F.) a step or degree of the stave.
DELIBERATAMENTE, :
DELIBERATO, , deliberately.
DELL’, DELLA, DELLO, (J.) of the.
DELICATO, DELICATEMENTE, 4 ’
DELICATEZZA, con, bay Galinately,
DELICATISSIMO, (J.) with extreme delicacy.
DELYN, the name given by the Welsh to their harp.
DELASSEMENT, a musical exercise, pleasing and attractive.
DEMANCHER, (F.) to change the position of the hand or the
guitar, violin, &c.
DEMI, (F.) a half.
DEMI-CADENCE, (J.) a half-cadence in harmony.
DITONE, (F.) a minor third.
PAUSE, (F.) a minim rest.
DEMIQUART DE SOUPIR, (F.) a demisemiquaver rest.
DEMISEMIQUAVER, a short note, equal in duration to one hal
the semiquaver.
DEMI-SOUPIR, (F.) a quaver rest.
—— TON, (F.) a semitone.
DE PROFUNDIS, (Z.) one of the seven penitential era
DEPLORATION, a dirge, or any mournful strain.
DERIVATIVES, chords derived from others by inversion.
DES, (G.) D flat.
DESCANT, an extemporaneous or other counterpoint on a givey
subject. *
DESCENDANT, (F.) in descending.
DES DUR, (G.) D flat major.
DES MOLL, D flat minor.
DESSUS, (/.) the treble or upper vocal pee
ae Giang on f the right hand.
DESCENDING, passing from any note to one less acute.
*
44 DICTIONARY OF MUSICAL TERMS
DESCENT, the lowering of the tone of a voice or instrument.
- DETACHE CHE, (F.) staccato.
DETERMINATO, a delivery in exact time, and given firm and
decided.
DEUTSCHE FLOTE, (G.) a. German flute.
DEUTEROS, (Gék.) second; the numerical term by which the
ancients marked the /oliar mode.
DEXTRA, (L.) Romans whe played on two flutes at the same
time.
DI, (L.) of.
DIA, (Gk.) through. ns
DIALOGO, (J.) a dialogue. <A piece or passage in which two or
more parts are so constructed as to respond to one another.
DIAPASON, an octave; a term applied to certain essential stops in
an organ, which extend throughout the whole scale of the instru-
ment. Of these there are several sorts; as, open diapason, stopped
diapason, double diapason, &c.
DIAPENTE, (Gé.) a perfect fifth.
DIATESSERON, (Gék.) a perfect fourth.
DIATONIC, (Gé.) naturally; that is, according to the degrees of
the major or minor scale, or by tones and semitones only.
DIACONICON, the book of service used by the Greek church.
DIAGRAMMA, (Gé.) diagram, the score.
DIAPHONIA, rules for the use of me organ in connection with
vocal music.
DIAPHONA, a composition for two voices.
DIAPHONICA, (Gk.) a dissonant interval.
DIASTEMA, (Gé.) interval.
DIATONIC SCALE, the seven gradations of tone, arranged in
conformity with some particular key.
DIAZEUXIS, (Gé.) division; name given by the ancients to the
tone which separates two disjunct tetrachords.
DIAPENTISSARE, a method of descant by fifths. ”
DIACHISMA, (Gé.) an interval in ancient music, forming the half -
of a minor semitone.
DIASTALTIC, (Gé.) dilating.
DIASTEM, an interval or space.
DIATESSARONARE, (Gé.) an expression implying singing iz
fourths.
DICTIONARY OF MUSICAL TERMS. 45
pIATONUM INTENSUM, the name given by musica. tl eorists to
those famous proportions of the intervals proposed by Ptolemy
in his system of that name.
DICHORD, (Gk.) a two-stringed lyre.
DIESARE, (1.) 2 to raise the pitch of a note by means of &
DIESER, (F.) ; sharp.
DIES IR&#, (ZL.) a principal movement in a requiem.
DIESIS, (Gé.) a small interval used in the mathematical computa-
“tions of intervals.
DIEZE, (F.) a sharp.
DIEZEUGMENON, (Gk.) the third tetrachord disjoined from the
second.
DI GRADO, (Z.) by degrees, in opposition to moving by ae
—_———- ASCENDENTHE, a series of notes of regular ascent.
DESCENDENTE, a series of notes of regular de-
scent.
DI GRADE, a regular succession of notes according to the scale.
-—-— MOLTO, (J.) an expression which serves to augment the sig-
nification of the word to which it is added; as, allegro ds
molto, very quick.
— SALTO, (J.) aterm applied to melody. See Salto.
DIGRESSIONE, a deviation from the regular course f the piece.
DILETTANTE, (F.) a lover of music.
DILUENDO, (J.) a gradual dying away of the tone till it arrives
at extinction.
DIMINISHED, somewhat Iess than perfect, as applied to intervals,
chords, &c.
INTERVALS, such intervals as are a chromatio
semitone less than the corresponding perfect or minor intervals.
ahi peeled Ss i : diminished, in regard to intervals and chords.
DIMINUTION, imitation of a given subject by means of notes of
_ shorter duration.
DIMINUENDO or DIM., (Z.) This term implies that the quantity
or intensity of tone must be gradually diminished.
D’ INGANNO, an unexpected ending.
DIRECT, a character placed at the end of a stave, to apprise tke
performer of the first note in the succeeding stave.
~=——— MOTION, synonymous with parallel or similar motion.
46 DICTIONARY OF MUSICAL TERMS.
DIRECTEUR, (F.) the director or conductor of a musical per-
formance.
DIRGE, a funeral song.
DIRETTORE DELLA MUSICA, a director of a musical perform
ance.
DIRITTA, the gradual rise or fall of the voice.
DISEURS, (F.) those who in a kind of chant recited their metrical
histories.
DISCRETO, with discretion.
DISTENDENTE, changes in the course of a piece.
DISCANT. See Descant. It also implies the upper part.
———_—— CLEF, treble or soprano clef.
DISCORD, a dissonant combination of sounds. 2
DIS-DIAPASON, a double octave.
——-MOLL, (G.) D sharp minor.
D MOLL, (G.) D minor. ;
fe RE yi ; (Z) despairingly, with extreme emotion.
DISPERSED HARMONY, harmony in which the notes forming
the different chords are separated from each other by wide in-
tervals.
DISSONANCE, an interval or chord displeasing to the ear.
DISSONANT, an inharmonious combination of sounds.
DITO, (J) the finger.
anit ; the major third or interval of two whoie tones.
' DITHYRAMBICS, (Gk.) songs in honor of Bacchus.
DIVERBIA, the dramatic dialogues of the ancients.
DIVERTIMENTO, (J.) a short, light composition, written in a
familiar and pleasing style.
DIVERTISSEMENT, (F.) certain airs and dances resembling a
short ballet, introduced between the acts of the French or Italian
opera. Also, a composition in a light and pleasing style.
DIVISI, (I. Pi.) This word is occasionally met with in orchestral
parts, when a passage is written in octaves or other intervals It
implies that one half of the performers must play the upper
notes, and the others the lower ones.
DIVISION, a series of notes sung to one syllable. Formerly, thie
term implied a kind of variation upon a given subject.
DICTIONARY OF MUSICAL TERMS. 47
DIVOTO, (Z.) devoutly, in a solemn style.
DIVOZIONE, con, (J.) with religious feeling.
DO, (Z.) a syllable applied in solfaing to the note C.
DOCTOR OF MUSIC, a degree conferred by one of the universi-
ties..
DODECACHORDON, ( Gk.) the twelve modes of Aristoxenus.
DOIGTE, (F.) fingered.
DOIGTER, (F.) the fingering.
DOLCE, or DOL., (Z.) implies a soft and sweet style of performance.
CON GUSTO, in a soft, sweet style.
E’ LUSINGANDO, with a peculiar soft and. attractive ex-
pression.
MA MARCATO, delicate and gentle, yet decided.
——— MANIERA, (Z.) a sweet, delicate, and finished style of -
performance.
DOLCIANO, DOLCINO, DULCIAN, DULCINO, {J.) a small bas-
soon, formerly much in use.
DOLENTE, (J.) grieving, mournful.
DOLENTEMENTE, (Z.) plaintively, mournfully.
DOLENTISSIMO, (Z.) the superlative of dolente.
DOLORE, CON DOLORE, (Z.) with grief.
DOLOROSO, DOLOROSAMENTE, (Z.) dolorously.
DOLCEMENTE, (Z.) in a sweet and graceful style.
DOLCEZZA, or CON DOLCEZZA, (7.) with sweetness and softs
ness.
DOLCISSIMO, (JZ.) with extreme sweetness.
DOMINANT, a name given by theorists to the fifth note of the
scale. :
DOMINANTE, (F.) the dominant or fifth note of the scale, so called
from its governing the key-note in harmony.
DOMINE SALVUM FAC, (Z.) a prayer for the king, sung after the
mass.
DOMESTICI, (Z.) an assistant in the patriarchal church of Constan-
tinople.
DOPPO, (Z.) after.
DOPPEL, (G.) double ; as,
DOPPELGRIFFE, (G.) double stop on the violin, &e.
DOPPELSCHLAG, (G.) a turn.
DOPPIO, (J.) double.
4 DICTIONARY OF MUSICAL TERMS.
DOPPIO MOVIMENTO,-(J.) double time; that is, as fast again.
—-+—— TEMPO, (Z.) double time.
-DORIAN, the name of one of the ancient modes.
DOT, a character which, when placed after a note or rest, increases
its duration by the half of its original value..
DOUBLE, an old term for a variation used by Scarlatti and others.
———_—— A. Any capital letter doubled indicates that the tone is
an octave lower than when single.
——— BEMOL, (F.) double flat.
———_— BAR, two thick strokes drawn through the staff.
CHANT, a simple harmonized melody extending to two
verses of a psalm as sung in cathedrals, &c.
———— COUNTERPOINT, a counterpoint which admits of the
parts being inverted.
———— CROCHE, (F.) a semiquaver.
———— BASS, a large, deep-toned bass instrument
DIEZE, (F.) double sharp.
POT. Two dots placed after a note increase its dura-
tion three fourths of its original length.
DRUM, a large drum used in military bands, and ~
' beaten at both ends.
FUGUE, a fugue on two subjects.
—— TONGUEING, a mode of articulating quick notes, used
by flutists.
DOUBLETTE, (F.) an organ stop, called by us the fifteenth.
DOUX, (F.) softly, sweetly.
DRAGG, or STRASCINO, a grace, consisting of ihiademaiag notes,
epee (F.) te sy Seer to action; a play, a com-
DRAMMA, (L))__°7» ® ogee:
DRAMATIQUE, (F.) .
DRAMMATICO, (Z) , wrsggars
DRAMMA BURLESCA, (J.) a comic or humorous drama.
’ DREYKLANG, (G.) a chord of three sounds, a triad.
DREYSTIMMIG, (G.) in three parts.
DRITTA, (J.) right; as, mano dritta, the right hand.
DRIVING NOTES. This term is sometimes applied to long notes
when placed between shorter notes, and accented centrary to the
natural rhythmic flow of melody.
DICTIONARY OF MUSICAL TERNS 49
DPROITE, (F.) right; as, maine droite, right hand.
DRONE, that long tube belonging to a bagpipe, which, as it sounds
only one note, answers as a perpetual bass tothe tune. © + —
DRUM, a pulsatile instrument used in military music ; it consista
of a cylinder, covered at each end by a skin, which may
be tightened by means of cords.
--——, KETTLE. Kettle drums are two large basins of copper
. with spherical bottoms, and covered at the top with vel-
lum or goat-skin, which is held round the rim by a
circle of iron, and tightened or relaxed by screws fixed
at the sides for that purpose.
————MAJOR, the chief drummer in a regiment.
DUE, (J.) two; frequently preceded by a; as, a due, for two; “a8,
——— CORDE, (Z.) for two strings.
——- CORI, (J.) for two choirs‘or choruses,
DUET, a composition for two voices.
: Lune (i.) a short and easy duct,
DUE VOLTE, (J.) twice.
DULCIANA, (J.) an organ stop, very soft and sweet.
DULCINO, a small bassoon, at one time much used in playing
tenor parts to the hautboy.
DULCIMER, a triangular chest strung with wires, which are struck
' with a little rod held in each hand.
DUMB SPINET, an instrument employed for the purpose of dead-
ening the sound.
DUO, (Z.) a composition for two voices or instruments.
DUGLO, con, (Z.) with pathos.
DUPLA, double.
DUR, (G.) major, in relation to Ree 9 and modes; as, C “dur, G
major.
DURATE,
DURANTE, § (1.) harshly, coarsely.
DURO,
DURCHFUARUNG, (G.) development.
DURCHGEHEND, (G.) transient, passing.
DUREE, (F.) length or duration of notes.
DUREZZA, (J.) harshness.
DURUM, (Gk.) one of the tetrachords in the Guidonian scale.
6
&
@ _ DICTIONARY OF MUSICAL TERMS.
DUTIXH CONCERT, a term of ridicule, and applied to cases where
. each musician plays his own tune, or in his own time,
DUX, (L.) the subject of a fugue.
DYNAMICS, the various degrees of sound.
fi E.
E, the Italian conjanction and ; 28, flauto e violino, flute and vie“
ED, tt lin; nobilmente ed animato, with grandeur and spirit.
ECCEDENTE, (J.) augmented, with regard to intervals.
ECCLESIASTICAL MODES, Sce Church Modes. —
ECCHUS, an echo of the voice. :
ECCO, (J.) ya repetition or imitation of a previous passage, with
ECHO, > ¢F.) some remarkable modification in regard to tone.
ECO, (J.) This term is often found in oar music.
ECHELLE, (F-.) the scale or gamut.
ECHEIA, harmonic vases used by the Greeks and Romans in ther: .
_ theatres, for the purpiése of augmenting the sound of the yoiees vf"
the actors. :
ECHOMETRE, (Gk.) a scale for measuring the duration of sounds
ECLISSES, (F. Pi.) the sides or hoops of a violin, &e.
ECOLE, (/.) a school or course of instruction.
ECOSSAIS,
ECOSSAISE,
ECOI, (Gk.) tropes or modes sang in the Greek church ¢41+ fig
Passion-week.
- E DUR, (G.) E major. :
EGLISE, (F.) church; as, musique d’église, churen wusie.
EGUALE,
EGUALIANZA, con, to equably, smoothly.
EGU ALMENTE, -
EIGHTH NOTE, a quaver.
EINFACH, (G.) simple.
EINGANG, (G.) an introduction.
- RINHEIT, (G.) unity.
. EINLEITUNG, (G.) an introduction.
EINLEITUNGSSATZ, (G.) an introductory mcvenent.
EINSCHNITT, (G.) a phrase or imperfect musical sente.ce
kur) a dance, tune, or air, in the Scotch styl».
DICTIONARY OF MUSICAL TERMS 5
KIS, (G ) E sharp.
EISTEDDVOD, (Welsh,) an debebBtede of bards,
emma . : (J.) with elegance.
ELEGANZA, con, (I.) with elegance, gracefully.
ELEGIA, an elegy.
ELEGIAC, the style ofanelegy, |
ELEVAMENTO, ELEVATEZZA, in an elevated style.
ELEVAZIONE, an exalted style.
ELEVE, (F.) a pupil.
ELLINE, (Gk.) song of the weavers.
EMBOUCHURE, (Ff.) the orci ich of a flute, hautboy, or ¢ the
wind instrument.
E MOLL, (G.) E minor.
EMPFINDUNG, (G.) emotion, passion.
EMPHYSOOMENA, instruments designed to imitate the hunian
voice,
EMPHASIS, a particular stress or marked accent on any note.
ENCORE, (F.) an expression employed by the audience, at theatres
and concerts, to signify their desire that a song or other composi-
tion should be repeated.
ENERGICO, CON ENERGIA, or ENERGICAMENTE, (J.) with
energy.
- ENFLER, (F.) to increase the tone.
ENGE, (G.) close, condensed.
ENHARMONIC, one of the ancient genera; a scale which \iebeads
by quarter tones.
ENHARMONIQUE, (F.) enharmonic.
EN RONDEAUD, (/.) in imitation of a rondeau.
ENSEIGNEMENT, (f.) instruction.
ENSEIGNER, (F.) to instruct.
ENSEMBLE, (F.) a term applied to music in parts, when the sev-
eral performers appear to be so animated by one and the same
. feeling, that the whole is given with that perfect smoothness, both
as regards time and style, as to leave nothing further to be ¢c
sired.
ENTR’ACTE, (F.) music played b between the acts of the drama
ENTRATA, (/.) an introduction.
ENTUSIASMO, con, (1.)- with enthusiasm.
52 . DICTIONARY OF MUSICAL TERMS.
ENTWURF, (G.). sketch or rough draught of a composition.
ENTRE-METS, (F.) movements introduced for the sake of variety
ENTREMES, (S.) a short musical interlude.
ENTRIES, operatic scenes. __
ENVOYS, one of the names by which the old agian ballads w sre
known.
_ EOLIAN, the name of one of the ancient modes.
EPI, (Gk.) below.
EPICEDIUM, (Gk.) a funeral song, or dirge.
EPINETTE, (F.) a spinet, an old keyed instrument.
EPISODE, a portion of a composition not founded on the principal
subject.
EPITHALAMIUM, (Gék.) a nuptial song or ode.
EPIAULA, (Gk.) song of the millers. _
EPIGONIUM, an instrument Daying forty strings, so named from
_ Epigonius, its inventor.
EPILENIA, (Gk.) song of the grape gatherers.
EPISYNAPHE, when three tetrachords or fourths are sung on’
after another.
EPINICION, song of triumph.
EPODE, conclusion of a chorus; also, a short lyric poem.
E POI, (1) and then; as, e poi la coda, and then the coda.
EPTACHORDO; the same as seventh.
EQUAL VOICES. Compositions for equal voices are those in which
either all male or all female voices are employed. ;
EQUISONANT, of the same or like sound, a unison. This term is
often used in guitar playing, to express the different ways of stop-
ping the same note.
EQUISONANCE, (Gk.) the consonance of the octave and double
octave. : :
EQUIVOCAL, a term applied to such chords as, by a mere change
in the notation, may belong to several keys.
CHORD, that chord whose fundamental base is
not indicated by the interval by which it is formed.
ERHOHUNG, (G.) the raising the pitch of a note by a sharp.
ERNIEDRIGUNG, (G.) the depression of a note by means of #
flat.
EROTIC, amatory.
EROICO, a symphony in the heroic style.
DICTI( NARY OF MUSICAL TEENS, 5é
ERWEITERT, (G.) expanded, extended.
ES, ¢G.) E flat.
ESGJ.AMANDO, operatic scenes in which very loud exclamation:
oce ir.
ES DUR, (G.) E flat major
ESES, (G.) E double flat. -
ES MOLL, (G.) E flat minor.
ESSAI, (F.) an essay.
ESECUZIONE, (J.) execution, great facility in the performance of
music, whether vocal or instrumental. ‘
ESERCIZI, (J.) exercises, studies for the sw yp eo ar’ of execu:
tion.
ESEGUIRE, (J.) to execute.
ESPACE, (F.) a space, the interval hewn two lines of the
stave.
ESPAGNUOLO, (Z.) in the Spanish sty.
ESPRESSIVO, or CON ESPRESSIONE, (J.) with expression.
ESSEMPI1O, (J.) an example.
ESSENTIAL, a term used to signify those notes of a chord which
constitute its real component parts, in ‘contradistinction to all
merely accidental or ornamental notes.
ESSACHORDO, the greater and lesser sixth.
ESTRO, (J.) elegance and grace.
ESTRINIENDA, a close, confined style of performance.
ESTINGUENDO, (J.) pearerme. ir the intensity of the tone by
degrees.
ESTINTE, ESTINTO, (J.) diminishing, gradually dying away,
both as to tone and movement.
ESTRAVAGANZA, (J.) a composition or performance character-
ized by its extravagance or wildness.
ESTREMEMENTE, (J.) extremely.
ESTRIBILHO, a favorite Portuguese song in 2 6 time.
ET, (Z.) and.
ET INCARNATUS EST, (Z.) a portion of the Credo.
ETOUFFE, (F.) stifled, damped, in harp playing.
ET RESURREXIT, (L.) part of the Credo.
ETRUSCAN, (Gé.) the music of Etruria, a town whose people were
noted for their musical talent.
ETUDE, (F.) a study.
5*
54° DICTIONARY OF MUSICAL TERMS.
ET VITA A (L.) a part of the Credo.
EUHARMONIC, in the best concord,
EUPHONIOUS, smooth and melodious.
EUPHONY, sweetness.
EUTHIA, (Gk.) a continuity of notes from grave to acute.
EVIRATI, (J.) male vocal performers, capable of singing soprano.
EVOLUTIO, (L.) inversion. .
EXECUTER, (F.) to execute or perform either vocally or on ar
instrument,
EXEQULA, funeral melodies,
EXPRESSION. A performer is said to play with expression when
he carefully observes the various modifications of forte and piano,
legato and staccato, &c., and when, in addition to the above, he im-
parts to the composition which he is perfornning’a particular charm
arising from the impulse of his own feelings. -
EXTREMES, those parts of a composition which are the greatest
distance from each other in point of gravity or acuteness.
EXTREME, a term relating.to intervals in an augmented state.
By some authors it is used in conjunction with the word sharp or
flat ; extreme sharp answering to augmented, and extreme flat to
diminished.
EXTEMPORE, (L.) unpremeditated, extemporaneous.
EXTEMPORIZE, to perform unpremeditatedly.
EXTENDED HARMONY. See Dispersed Harmony.
EXTRANEOUS, foreign, far-fetched.
MODULATION, a modulation into some other
than the original key and its relatives.
EXTRAVAGANZA, a performance without any *egard to rules
or good taste.
F.
FA, a syllable applied, in solfaing, to the note F.
FA LA, the burden or chorus of many old English songs.
FA BURDEN, a term applied to several ancient spe-
FALSO BORDONE, (Z.) cies of counterpoint. With regard te
-_PAUX BOURDON, (F.) ) modern times, it usually signifies a
succession of chords of the sixth, where the interval of the sixth
is formed by the extreme parts, and that of the third by the inne
part,
OICTIONARY OF MUSICAL TERNS. 52
FACIL TA, ( -) facility. This term is generally placed over
passa ze in sinail notes intended to facilitate any difficulty. x
FACILMENTE, (J. ) with facility, in an easy manner.
FAGOTTO, (J.) a bassoon.
FAGOTTISTA, (Z.) a performer on the bassoon.
FAGOTTONE, (JZ.) a double bassoon.
ALSE. Those intonations of the voice which do not truly express
the intended intervals, as well as all Ul-adjusted com-
binations, and those strings, pipes, and other sonorous
bodies which cannot be accurately tuned, are denom:
inated false.
CADENCE, an imperfect or interrupted cadence.
FIFTH, an imperfect or diminished fifth.
RELATION, certain harmonic progressions in which notes
which have occurred in one chord occur again in the next,
altered by means of a sharp, flat, or natural, but not in the very
same part, in contradiction to the laws of harmony.
FALSO BORDONE, a term applied in the early days of descant
to such counterpoint.as had either a drone base, or some part con-
stantly moving in the interval with it.
FALSETTO, (J.) certain notes of a man’s voice which are above ita
natural compass, and which can only be produced artificially.
FANCIES, little, lively airs.
FANDANGO, an expressive Spanish dance i in 3 time, generally ac-
companied with castanets.
FANFARE, (F.) a trumpet tune.
FANTASIE, (F.) } a composition in which the iii gives himself
FANTASIA, (1.) : up wholly to the caprice of his ideas.
FANTASTICAMENTE, FANTASTICO, (J.) expressive of fantas-
tic effects.
FANTASTIQUE, (F.) whimsical, fantastical, in relation to style
form, modulation, &c.
FARANDOULE, the name of a lively French dance in € time.
-FARSA IN MUSICA, a farce or short comic drama ae to music,
genera.-y in one.act.
FASCIE, (i. Pi.) the sides of a violin, tenor, or other similar vist:
ment.
' FASTOSO, (J.) with a lofty and splendid style of execution.
F DUR, (G.) the key of F major.
.—«BG DICTIUNARY OF MUSICAL TERMS.
FENTIO, I deat, I strike.
FERMO, (J.) firm, resolute.
FERMATA, (Z.) a pause.
yar ‘ —s (I.) with firmness and decision.
FEROCE, —
FEROCITA, «con,
FES, (G.) F flat.
FESCENNINA, the name given to nuptial songs, because “he
originated with the people of Fescennia, a city of Etruria.
FIACCO, (J.) weak, feeble.
FIASCO, (J.) a failure.
FIATO, (J.) the breath.
FIDICINAL, of the violin species.
FIERAMENTE, : (I.) in a bold and energetic manner, with vehe-
: (1.) fiercely, with an expression of ferocity
FIERO, - mence.
FIFRE, (F.)
FIFFANIO, (I.) ba fife.
_ FIFTEENTH, an organ stop, tuned two octaves above the diapa-
sons}; also an interval of two octaves.
FIGURATO, (I.
FIGURE, ai z figured ; as, basso figurato, a Sgure bass.
- FIGURED BASS, a bass having figures placed over He notes tz
indicate the harmony.
,FILAR LA VOCE, (I.) to gradually augment and diminish ‘the
sound of the voice.
FILUM, (L.) former name of the stem of a note.
FIN, (F.) 2 the end. This expression is generally used to indicate
FINE, (J.) . the termination of a musical composition.
FINALE, the last piece of any act of an opera, or of a concert; or
the last movement of a symphony or sonata, in the German style.
FINGERSATZ, (G.) fingering.
FINITO, (Z.) concluded, terminated.
FINGER-BOARD, that part of a stringed instrument on wh‘ch
the fingers press.
FINGERED, that tone caused by the pressure of the fingers,
FIN QUI, (Z.) to this place. ‘
FINTO, (J.) feigned ; or, with regard to caderices, interrupted.
FIORITURE, (Z.) embellishments in singing; divisions of rapid
nates,
’
DICTIONARY OF MUSICAL TERMS. 54
FIOREGGIANTE, (I.) decorated with flourishes. .
FIORISCENTE, (J.) an ornamental style.
FI{ORITU, (J.) embellishments.
-FIORITTYO, a species of diminution, commonly made at the er ding
of a cadence.
FIS, (G.) F sharp.
FIS DUR, (G.) F sharp major.
FISFIS, (G.) F double sharp.
FIS MOLL, (G.) F sharp minor.
FISTULA, (Z.) a pipe, or flute in general.
DULCIS, (L.) a common flute.
-——_——- GERMANICA, (L.) German flute.
PANIS, (L.) an instrument formed of reeds.
———— PASTORALIS, (Z.) shepherd’s pipe.
PASTORICA, (ZL.) the name given by Cicero and other
classics to the oaten pipe, used by the audiences at Roman-thea-
tres.in expression of disapprobation.
- FITHELE, ancient name of the violin.
FLAUTATO, FLAUTANDO, (J.) with a flute-like tone. This
term is sometimes met with in violin music, and the desired qual-
ity of tone is obtained by drawing the bow smoothly and gently
across the strings, over that end of the finger-board nearest the
bridge.
FLAUTINO, FLAUTONE, (J.) an octave flute.
FLAUTISTA, (J.) a performer on the flute.
FLAUTO, (J.) a flute.
—— —- PICCOLO, (Z.) an octave flute, or a flageolet.
TRAVERSO, (J.) the German flute.
FLEBILE, (J.) in a mournful style. *
FLEBILMENTE, (J.) mournful. :
F-LOCHER, (G. Pi.) the sound holes of a violin, tenor, &c.
FLON-FLON, the burden of certain old vaudevilles. The term is
now applied in contempt to any air resembling them in style.
FLOURISH, an appellation sometimes given to decorative notes
which a singer or instrumental performer adds to a passage, with
the double view of heightening the effect of the piece, az ¢ of dis :
playing his own flexibility of voice or finger.
FLORID, ornamental, figured, embellished.
SONG, applied by musicians of the fourteenth ~entury
a
68 DICTIONARY (OF MUSICAL TERMS.
‘to the inve tion of figured descant, to distinguish it from the old
-chant, or plain song.
FLUGEL, (G.) a harpsichord.
FLUTE, a portable, inflatile instrament, blown with the breath,
and consisting of a boxen or ivory tube, furnished with holes at
the side for the purpose of varying its sounds. Its ‘name is derived
from the word fluta, the Latin name of the lamprey, or small eel,
taken in the Sicilian seas; because, like that fish, it is long, and
perforated at the side. The flute was in great esteem with the
~ ancient Greeks and Romans.
FLUTE-A-BEO, (F.) an English flute.
FLUTA, (L.) flute. »
FLUTED, a term applied to those tipper and extra notes of a so-
prano voice, which, from the constraint with which they are pro- *
duced, are thin, and of a flute-like tone.
FLUTE ALLEMANDE,
_____ TRAVERSIERE, ; (F.) the German flute.
F MOLL, (G.) the key of F minor.
FOCOSO, (J.) with fire.
FOGLIETTO, (J.) a@ continuation of the violin.
FOLLIA, (S.) a Spanish air, or dance tune, so called.
-—__—— DI SPAGNA, (S.) a species of composition, consisting
of variations on a given air, invented by the Spaniards; hence its
name, ~ ;
FONDAMENTO, (Z.) the base.
FORTE, (Z.) FOR., abdd., loud.
CORE Fy : a lively Venetian dance in 4 time.
FORTEMENT, (F.) loudly, with force.
FORTE-PIANO, (Z.) the piano is so called by reason of its éapatil
ity of modifying the intensity of the sounds. Zs
FORTISSIMO, (J.) very loud. q
FORTSETZUNG, (G.) a continuation.
FORZANDO, (/.) FORZ., abd. This term implies that the rote is
to be marked with particular emphasis or force.
FORZA, cies pied (1.) force; as, con forza, with force, -yehe-
mently.
FORMULARY, name fornimay. given to the stated and prescribed
uumLer and disposition of the ecclesiastical tones.
DICTIONARY OF MUSICAL TERMS. 59
KDB AMINA, (Z.) flute holes.
FOURTEENTH, an interval of an octave’and a seventh.
FOURTH, an interval of four degrees.
F QUADRATA, the riame given by the early writers m coun:
terpoint to the sign which represented sharp F, in ther musica
falsa or transpositions, and the form of which, like our naturals, —
approached that of a. square.
FRANCHEZZA, con, (I.) with freedom, boldly.
FRASI, (J. Pl.) phrases, short musical sentences.
FREDDAMENTE, FREDDEZZA, con, (J.) coldly, with coldness.
FREDON, (F.) a flourish, or other extemporaneous embellishment.
FRENCH SIXTH, the name of a chord composed of a major third,
extreme fourth, and extreme sixth; as, F #, D, C, Ab.
HORN, the corne de chasse, a wind instrument, consist-
ing of a long tube twisted into several circular folds, and gradually
increasing in diameter from the end at which it is blown to that
at which the sound issues.
FRESCO, FRESCAMENTE, new or uncommon.
FRETS, those small projections fixed across the finger-board of a
guitar, mandoline, and other a to show where the notes
are to be stopped.
FRETTA, or con FRETTA, ahha or hastening the time.
FREY, (G.) free; as, freye schreibart, the free style of composition.
FROSCH, (G.) the nut of a bow for the violin, tenor, &¢.
F SCHLUSSEL, (G.) the F clef.
FUGA, (J.) a fugue; a subject treated in intitation, or a dialogue,
in which the different parts pursue each other alternately.
FUGATO, (J.) a piece in the fugue style.
FUGHETTA, (J.) a short fugue.
FUGA DOPPIA, a fugue with two subjects. :
FUGUE, a form of composition peculiar to the strict or centrapunc~
tal style, in which a subject is proposed by one part, and then
answered by other parts, according to certain rules.
FUGUIST, a composer or performer of fugues. ;
FUGUE RENVERSEE, (f.) a fugue, the answer of which is made
in contrary motion to that of the subject.
FUHRER, (G.) the subject of a fugue.
FULL, for all the voices or instruments. In cathedral music, it im
plies that the passage is to be sung by both sides of the choir.
60 DICTIONARY OF MUSICAL TERMS.
FULL ORGAN, an organ fully employed, all its stops requived.
— — TURN, a turn consisting of four notes immediately afte:
that upon which it is made.
—— ANTHEM, an anthem in four or more parts, without verses,
to be sung in chorus.
—— SCORE, a complete score of all the parts of a complete com-
position, whether vocal or instrumental, or both combined.
-——— SERVICE, a service without any verse parts.
FUNDAMENTAL BASS, a bass formed of the roots of chords only. -
A bass of this sort is not meant to be played,
but merely to serve as a test of the correct
progression of the harmony. _
CHORD, a chord the lowest note of which is
its root.
FUNEBRE, (F. and J.) 2 funeral; as, marche dermis: a rite
FUNEREO, (1.) ; march. :
FUNZIONI, (J. Pi.) sacred musical performances in general, as
‘oratorios, masses, &c.
FUOCO, con, (I.) with fire, with intense animation.
FUOCOSO, (J.) extremely spirited.
FURIA, con, FURIBONDO, FURIOSAMENTE, FURIOSO, (Z.)
with extreme yehemence, furiously.
FURLANO, (J.) an antiquated dance.
FURNITURE, an organ stop, consisting of several ranks of pipes.
FURORE, con, (I.) with fury, with great agitation.
FURCE, name formerly given to a close diatonic chain of ascending
and descending notes, introduced to connect an expansive interval,
FUSA, (Z.) a quaver.
FUSELLA, (Z.) the name formerly applied to the demisemiquaver
G.
GAIAMENT, (J.)
GAIEMENTE, (F.)
GAIO, ant gayly, cheerfully. 7
_ GAJO, <1)
GAGLIARDA, (J.) .
GAILLARDE, (F.) t. lively dance tune, in triple ime,
GALLIARD, f
, in a cheerful and lively style.
DICTIONARY OF MUSICAL ‘TERMS. 61
34 LANTEMENTE, (J.) ‘esttecatty, boldly. _
GALLOPADE, (F.) a galop, a quick German dance tune.
GALOP, (G.)
GALOPPE, (F.)
- GAMME, (F.) the scale of any key.
GAMUT, the scale of notes belonging to any key.
GANZE, (G.) whole; as, ganze note, a whole note or semibreve }
ganzeton, a whole tone.
GARBO, (I.) with simplicity, without pretension, unaffectedly
GARRIRE, (J.) to warble like a bird.
GAUCHE, (F.) left; as, main gauche, left hand.
GAVOT, a lively dance in common time.
GAVOTTA, (1) a gavot, a lively species of dance.
G DUR, (G.) the key of G major.
GEBROCHENE AWKORDE, (G. Pi.) broken chords, arpeggios.
GEBUNDEN, (G.) connected, syncopated, in regard to the ee
of playing or writing.
GEDACHT, (G.) stopped, in opposition to the open pipes. in an
organ.
GEFAHRTE,. (G.) the answer of a fugue.
GEFUHE, mit, (G.) with feeling and sentiment.
GEGENBEWEGUNG, (G.) contrary motion.
GEHEND, (G.) This word signifies a degree of movement similar
to that implied by andante.
GEIGE, (G.) the violin.
GENUS, GENERA, (ZL.) terms used by the ancients ‘to indicate
the modes according to which they divided their tetra-
chords, whether by tones and semitones conjointly, by
semitones only, or by the occasional intervention of
quarter tones. The first mode was called the diatonic
genus, the second the chromatic genus, and the third
the enharmonic genus.
MELODLA&, (L.) the manner in whicn the ancients di-
vided and subdivided the elements of melody.
MODULANDI, (Z.) the -ancient division of the tetra
chori; a disposition of its four sounds in succession.
GENERATORE, (F.) that tone which generates. Name given by
Rameau to the fundamental note of the common chord.
GENERALBASS, (G.) thorough-bass.
6
2
, a quick species of dance, generally in 4 time.
62 DICTIONARY OF MUSICAL TERMS.
GENERATING TONE, the principal tone caused by the vibration
of stringed instruments when one tone is struck.
GENIALIA, musical instruments used by the Romans in celebrat-
‘ing nv >tial ceremonies.
GENEROSO, (J.) robly, in a dignified manner.
GENRE, (F.) style; also, genus; as,
CHROMATIQUE, (F.) the chromatic genus.
GENTILEZZA, con, (I.) with grace and elegance.
GERADE BEWEGUNG, (G.) similar motion.
-——_——. TAKTART, (G.) common time.
GERMAN SIXTH, the name applied by some writers to a chord
composed of a major third, perfect fifth, and extreme
sixth; as, AH,G,E,C.. .
FLUTE, a German invention, blown at the: side instead
of end, as is the English.
GES, (G.) G flat.
GESANG, (G.) singing, or the art of singing; also, a song.
GESCHWIND, (G.) quick ; as,
———————_ MARSCH, (G.) a quick march.
' GES DUR, (G.) the key of G flat major.
‘GESTOURS, (F.) itinerant minstrels of the humorous sine whe
interlarded their songs with comic tales and jokes.
GIGA, (Z.)
_GIGUE, (F.)
G IN ALT, the first note in ale.
— ALTISSIMO, the first note in islitestiio:
GIOCOSAMENTE, GIOCOSO, (J.) humorously, with a Ua
GIOJOSO, (J.) joyously, with buoyant hilarity.
GIOVALE, (Z.) jovially.
GIS, (G.) G sharp.
—— MOLL, (G.) the key of G sharp minor.
G MOLL, (G.) the key of G minor.
G SCHLUSSEL, (G.) G clef.
GIUOCO, (J.) a stop-of an organ.
GIUSTAMENTE, (Z.) j-1stly, with precision.
GIUSTO, (J.) in just and exact time.
GIULLARI, or GIOCOLARI, bands of buffoons, dancers, actors,
singers, and instrumental performers, retained in courts of princet
in T-iscany, for the diversion of the company.
. a jig, or lively species of dance.
LICTIONARY OF MUSICAL TERMS. 63
LEE, a ci nposition for three or more voices, generally in a cheer-
ful style.
GLI, (J. P..) the; as, gli stromenti, the instruments.
GLIDING, an easy, smooth, and graceful style.
GLISSER, (F.) to glide smoothly from one key to another.
GLISSANDO, (J.) in a gliding manner. :
GLISSICATO, (J.) in a gentle and gliding manner.
GLORIA, (L.) a principal movement of the mass or Catholiv
service.
GLORIFICATION, vocal praise.
GLOTTIS, (Gz.) the mouthpiece of all wind instruments.
GLOTTOCOMEIA, (G.) boxes in which the Greeks carried the
lingule, or tongues of their flutes.
GNACCARE, castanets.
GOL, a funeral dirge of the Irish peasantry.
GONG, an instrument supposed to be of Chinese origin, .which
consists of a large round plate of bell metal, which, when struck,
_ produces a loud noise.
GORGHEGGI, (I. Pi.) vocal exercises for se ii facility in the
execution of divisions.
GRACES, ornamental notes, sometimes indicated by the composer,
sometimes added spontaneously by the performer. The most
usual are the appoggiatura, the turn, artd the shake.
GRADAZIONE, con Gradazione, (I.) expresses the gradual aug-
mentation or diminution of celerity of psi a or intensity of
tone.
GRADO, (1.) a degree or single step on the stave.
.. GRADUALE, the Gradual; a verse sung after the epistle in Cath-
olic churches.
GRADUELLEMENT, (F.) gradually. ,
GRADUAL MODULATION, modulation in which, before the
modulating chord, some chord is taken which may be considered
as belonging either to the key we are in, or that to which we ara
going.
GRAN, (J.) grand.
GUSTO, (1) in a lofty, elevated manner.
GRANDE, (J.) great; as, con grande espressione, with much ex
pression. m
GRAND MESURE A DEUX TEMS, (F.) (@ time
64 DICTIONARY OF MUSICAL TERMS.
GRAND CANTO 4E, (J.) a vocalist of uncommon merit.
CASSA, tne double drum.
(FRANDIOSO, (JZ) in a noble and elevated style.
GRAPPA,.(J.) the brace or’ character serving to connect wo of
more staves.
GRATIAS AGIMUS, (ZL.) part of the Gloria.
GRAVEMENTE, (J.) with gravity, dignified and solemn.
GRAVE, (J.) a very slow and solemn movement ; — a deep, ow
pitch in the scale of sounds.
GRAVEZZA, grave.
GRAVITA, con, (J.) with ceaie:
GRAVITY, a low pitch.
GRAZIA, con, GRAZIOSAMENTE, GRAZIOSO, (J.) in a flow- —
ing and graceful style.
GREAT CADENCE, a cadence in which the closing chord im-
mediately follows that of the sub-dominant.
ORGAN. In an organ with three rows of keys, this is
“usually the middle row ; it is so called from containing the great-
est number of stops, as also from the pipes being voiced louder
than those in the swell or the cheir organ.
GREGORIANISCHE GESANG, (G.) the Gregorian chan‘,
GREGORIAN MUSIC, sacred compositions introduced into the
Catholic service by Pope Gregory.
GREGORIAN TONES. This term sometimes refers to the chants
used for the psalms in the Roman Catholic service, and at others
to the ancient modes or tones on which those chants are based.
See Church Modes. *
GRIFFBRET, (G.) the finger-board of a violin, violoncello, &c.
GROS-FA, the name formerly applied to old church music in
square notes, semibreves, and minims.
—— TAMBOUR, (F.) “the great drum.
GROSSE, (G.)-major, in regard to intervals.
CAISSE, (F.) the great drum.
——— SONATE, (G. Pi.) grand sonatas.
GRCSSO, (J.) full, great; as, concerto grosso, a concerto for many
ingtruments. ; :
GROGITESCO, unique, grotesque. ’
ROUND, a bass, consisting of a few simple notes, intended as §
the ne on which, at each repetition, a new melody is corstructed
DICTIONARY OF MUSICAL TERMS. 65
GROUP, an assemblage of several short notes tied together.
GRUNDSTIMME, (G.) the bass.
GRUNDTON, (G.) the bass note.
GRUPPETTO, (Z.) a group of notes, a turn.
GRUPPO, (J.) a tum, or grace,
SUARACHA, a Spanish dance.
GUDDOK, a rustic violin, with three strings, used among the
Russian peasantry. i
GUERRIERO, (J.) in a martial style.
GUIDA, (I) a guide ; as, guida armonica, a guide to IOS
GUIDA, (1) BE ge Wea
GUIDON, (F.) : the character called a “direct.” -
GUIDONIAN SYLLABLES. See Aretinian Syllables.
GUIDA MUSICA, a guide to musical knowledge.
GUITAR, a well-known stringed instrument, the body of which ‘is
-of an oval form, and the neck similar to that of a violin.
GUIDE, a name given to that note in a fugue which leads off and
announces the subject. .
GUSTO, G@USTOSO, or CON GUSTO, (J.) with shaban elegantly *
GUTTURAL, formed too much in the throat.
GYMNASTICE, (Gk.) contests of skill among the ancients, ‘in
which the performance of music formed a principal part.
H. ¢
H. This letter is used by the Germans for B natural.
HABITUDO, a ratio measuring an interval.
HACKBRETT, (G.) the dulcimer.
HALBERTON, (G.) a semitone.
HALBCADENZ, (G.) a half cadence; a cadence on the dominant.
HALBNOTE, (G.) . = satis wy
HALF-NOTE, :
CIRCLE, a melodic figure consisting of four tones, the
second and fourth of which are the same.
HALLELUJAH, a Hebrew word signifying “ Praise the Lord.”
HALS, (G@.) the neck of a violin, tenor, &c.
ITAND-GUIDE, an instrument invented by Kalkbrenner, to insure
a good position of the hands and arms on the piancrforte.
HARDIMENT, (F5 with boldness and animation.
e*
66 DICTIONAHY OF MUSICAL TERMS.
HARFE, (G.) aharp. !
HARMONIPHON, a little instrument, with a key-board like »
piano-forte, invented in 1837, and intended to supply the place of
the hautboys in the orchestra. The sounds are produced from
small metal tongues, acted upon by blowing through a flexible
tube.
<LARMONICA, a musical instrument, the tones of which are pro
duced from globular glasses.
-HARMONICLI, (i. Pi.) harmonics in violin music.
HARMONIE, (F. and G.) harmony in general; also, music ex-
pressly composed for a military band.
HARMONY, the art of combining notes so as to form chords, and
— of causing the chords thus formed to succeed each other accord-
ing to certain laws..
HARMONICS, certain indistinct mea ch which, by attentively lis-
“tening to the vibrations of any deep-toned musical string, may be
heard to accompany the principal sound. Harmonics are also cer-
» tain artificial notes produced from the violin, violoncello, harp, &c.,
and which somewhat resemble the tones of a flageolet.
HARMONIST, one acquainted with the laws of harmony.
HARMONIZER, one who fabricates or produces harmony. The
term is generally applied to those musicians who add~passages to
the productions of others, fill up scanty pieces, or garnish popular
airs. .
HARMONIZED. A melody is said to be harmonized, when addi
tional parts are subjoined, so as to give it body, or a fulness 9
effect.
HARMONIC HAND, the figure of the left hand, with the syllabi«
signs of the intervals of the three hexachords,
instituted by Guido, marked on the joints of the
fingers. In some ancient works it is called the
Guidonian hand.
MODULATION, a change in the harmony from one
key to another.
HARMONIOUS, a term applicable to any two or more sounda
which form a consonant or agreeable union.
HARMONOMETRE, a string drawn between two points, over
bridges so arranged as to be lengthened or shortened at pleavura
and used for measuring the harmonic relations.
,
DICTiONARY OF MUSICAL TERMS. 67°
HARMATIAN or CHARIOT AIR, (G4.) a spirited martial air, em
ployed to animate the horses that drew the chariot during battle.
HARMONICAL SOUNDS, those produced by the parts of the
chords, &c., which vibrate a certain number of times, while the
whole chord vibrates once.
HARP, a stringed instrument consisting of a triangular frame,
having chords distended in parallel directions from the upper part
to one of its sides.
HARPER or HARPIST, a performer on the harp.
HARP-BELL, a stringed instrument, so called from its being
swung about in performance, like a bell. It is about three feet
long; its strings, which are of no determinate number, are of
brass or steel wire, fixed at, one end, and held at the other by
screws.
HARP LUTE, an instrument having twelve strings, and rébeni bling
the guitar.
HARPALICE, (Gk.) a song appropriated to young girls.
HARPEGGIATO, causing several sounds of one accord to be »
heard, not together, but distinctly one after the other. -
HARPSICHORD, an instrument much used before the invention
of the piano-forte. Its strings were of wire, and it was furnished
with one, and sometimes with two rows of keys. ;
HART, (G.) major, in regard to keys and modes,
HAUPT, (G.) principal.
HAUPTMANUAL, (G.) the “set of keys belonging to the great
organ.
HAUPTNOTH, HAUPT-TON, (G.) the principal note by a shake, |
or that over which the mark fr is placed.
MAUPTPERIOD, (G.). a capital period.
WMAUPTSATZ, (G.) the principal subject or theme.
HAUPTSCHLUSS, (G.) a final cadence.
HAUPTSTIMME, (G.) a principal part.
HAUPTWERK, (G.) the great organ.
MAUSSE, (F.) the nut of a violin or other bow.
HAUT, (F.) acute, high, shrill; as, haut contre, high, or counter
tenor ; haut dessus, first treble.
——— CONTRE, (F.) high, or counter tenor.
—~—— DESSUS, (F.) first treble.
H DUR, (G.) B major.
68 S DICTIONARY OF MUSICAL TERMS.
SEMI, a word used in picisnenbien with some other word, the yal
of which it diminishes one half.
HEMIT IAPENTE, (Gé.) the diminished or imperfegt fifth.
HEMITONE, (Gé.) an old term signifying the interval of a major
third diminished by half a tone.
HEMIOPE, or HEMIOPEUS, (Gk.) a wind instrument used by
the ancients, consisting of a tube with three holes.
HEMITUONO,-.(J.) a name given by the Italians to one uf tne
intervals of music.
HEPTAMERIS, (Gé.) in ancient music, the seventh part of a mer‘s,
or forty-third part of an octave. :
HEPTAPHONOS, one of the ten musical notes of the middle
ages.
HEPTACHORD, a scale or system of seven notes. ~
HERSTRICH or HERABSTRICH, (G.) a down bow.
HERALDS, or DES HERAUTS. This appellation the French -
formerly applied to the minstrels, because, on account of the
strength of their voices, they were qualified to animate the sol-
diers in battle, and to make proclamations at public festivals.
HESYCHIASTIC, (G&.) a chord in ancient music equivalent to e
modern sixth,
HEXACHORD, a scale or system of six notes.
HEY-DERRY-DOWN, an old English burden. ‘See Burden.
_ HEY-TROLLY-LOLY, an old Scotch burden. See Burden. :
HIDDEN CONSECUTIVES, such as occur in passing, by similar
motion, from an imperfect to a perfect concord, or from one perfect
concord to another of a different kind.
HILARODI, (Gé.) strolling musicians, who went about singing
diverting songs.
HILARODIA, (Gé.) songs and lyric poems sung by the Hilarodi.
HINAUFSTRICH, HINSTRICH, (G.) an up bow.
HIS, (G.)_B sharp,
HISTRIO, (L.) a stage singer or mimic.
H MOLL, (G.) the key of B minor.
HOCHZEITMARSCH, (G.) a nuptial march.
HOCKET, a mode of execution corresponding with that of our stac
cato pass izes.
HOLDING-NOTE, a note prolonged during the changes of other
notes.
ji | om
DICTIONARY. OF MUSICAL TERMS 69
HOMOPHONY, (Gék.) a word applied by the ancients to that kind
of music which was performed in unison. —
HOMOPHONOI, (Gé.) duplicates of the same sound.
HOMOPHONOQUS, voices in unison.
HOPSWALZER, (G.) quick waltzes. r
HORNPIPE, the name of an old dance in triple time. Modera
tunes of this name are usually in common time.
HOSANNA, (Z.) part of the Sanctus.
HULFSNOTE, HULFSTON, (G.) the auxiliary note of a shake.
HUNTING MUSIC, music designed for a hunting tour.
HURDY-GURDY, an instrument, the strings of which are caused
to vibrate by the friction of a wheel upon them.
HURTIG, (G.) quick, implying a degree of movement similat to
that indicated by the word allegro.
HYDRAULICA, an ancient instrument whose tones were produced
by the motion of water.
HYMEE, (Gé.) song of the millers.
HYMEN ZA, (Gé.) a marriage song used by the Greeks.
HYMN, anciently a song in honor of the gods or of heroes. It is
the oldest of poetical compositions, and was thought by the an-
cients to be dictated by the gods. In the present acceptation of
the word, it signifies a short, religious, lyric poem.
HYPATE, (Gk.) the lowest of the tetrachords.
BAREIA GRAVIS, (Gé.) a tone in ancient music Pro
duced by eight ninths of the whole string.
DIATONUS, (Gk.) the third sound of the first tetra-
chord.
HYPATON, (Gk.) the lowest chord of the lowest tet-
rachord.
MESON, (Gé&.) the last or highest of the first tetrachord,
and the first or lowest of the second tetrachord.
HYPATOIDES, (Gé.) the deep or bass sounds.
HYPER, (Gk.) above.
ZEOLIAN, (Gék.) name given by the ancients to their pee «
nultima mode upward, the fundamental or ‘tonic of
which was a fourth above that of the olian.
DIAZEUXIS, (Gk.) a disjunction of two tetrachords
when separated by the interval of an octave.
DORIAN, (Gé&.) a mode among the ancients, sa d to hare
~
v3 DICTIONARY OF MUSICAL TERMS.
been invented by Pythaclydes, the fundamental of which wse a
fourth above the Dorian.
HYPER-IONIAN, (Gk.) one of the ancient modes.
LYDIAN, (Gé&.) the highest ancient mode, the funda-
mental of-which was a fourth above that of the Lydian.
————-MIXO-LYDIAN, (Gzk.) one of the ancient Greek modes,
———-PHRYGIAN, or HYPER-MIXO-LYDIAN, (Gk. ) the
highest of the thirteen modes of Aristoxenus, forming the diapa-
pason, or octave, with the Hypodorian, or lowest mode.
ITYPERBOLZZON, or SUPREME, (Gk.) the fifth tetrachord, so
called because its sounds were more acute than those of the other.
four.
HYPERIASTIAN, or HYPER-IONIAN, (Gk.) the general name
of an ancient mode which had its fundamental a fourth above that
of the Ionian.
HYPEROCHE, (Gk. yi a word used by ancient authors to signify
the difference between the enharmonic and chromatic dieses.
HYPO, (Gk.) below.
EOLIAN, a mode haying its fundamental a fourth belo-y
that of the Aolian.
— ——DIAZEUXIS, (Gk.) the interval of a fifth, found between
» two tetrachords separated disjunctively.
DORIAN, (Gk.) the lowest of the Greek modes.
IASTIAN, (Gé.) one of the ancient modes,
IONIAN, (¢Gé.) the second of the ancient modes. Its low-
est sound was a fourth below that of the Ionian.
———-—LYDIAN, (Gk.) the fifth of the ancient modes; the funda-
"mental was a fourth below that of the Lydian.
MIXO-LYDIAN, (Gk) a mode added by Guido to those
of the ancient Greeks.
PHRYGIAN, (Gk.) a mode said to have been invented by
a pupil of Socrates. Its fundamental was a fourth lower
than that of the Phrygian, from which it was derived.
PROSLAMBANOMENOS, (Gk.) a chord added by Guida
to the ancient scale. It was a tone lower than the low-
est sound of the Greeks.
-——_SYNAPHE, (Gk.) a term applied by the ancients to tha
disjunction of two tetrachords by the interposition of a thiz . cone
soint with both.
DICTIONARY OF MUSICAL TERMS. 71
MYPOCHERMES, (G4.) a canticle or song used by the ancients in
their military dances, and feasts of the gods.
HYPOCRITIC, (Gé.) an epithet applied by the ancients to the art
of gesticulation, which had a considerable share in their publics
vocal performances,
i
IAMBUS, a musical foot, consisting of one short and one long note.
IAMBICS, certain songs or satires which are supposed to have given
birth to the ancient comedy. There were two kinds; one for
singing, the other for recitation.
IASTIAN, the name of one of the ancient modes.
IL, (J.) the; as, é violino, the violin.
— CANTO, (Z.) the song. -
- PIU, (J.) the most. -
~ PONTICELLO, (J.) that precise part of the voice where the
natural tone forms a juncture with the falsetto. It also denotes
that in violin playing the bow must be carried near the bridge.
- PASSO TEMPO, (J.) a short composition intended as a diver-
sion.
~ ‘SDRUCCIOLARE, (1.) a sliding movement over the keys of s
piano.
-— TEMPO CRESCENDO, accelerating the time.
— VOLTEGGIARE, (J.) crossing the hands in piano music.
IMBOCCATURA, (J.) the mouthpiece of a wind instrument.
IMBROGLIO, a confusion, caused by the complication of the vari«_
ous parts.
IMITANDO, (1.) imitating; as, imitando la voce, imitating the in- ~
flections of the voice.
IMITATIVE, a term applicable to that music which is composed in
imitation of the effects of some of the operations of nature, art, or
human passion.
IMITAZZIONE; a particular style of composition, wherein each
part is.made to imitate the other.
IMMEDIATE CADENCE, common cadence.
IMPAZIENTEMENTE, (I.) with impatience.
IMPERFECT, less than perfect, or minor, in speaking of intervalg
-shords, &c
72: DICTIONARY OF MUSICAL TERMS.
IMPERFECT CADENCE, a cadence in which the dominant har-
mony is preceded by the common chord of the
tonic.
«———— CONSONANCES, a term iitiea: in ‘harmony, to
; the major and minor thirds, and major and minor
_ sixths. q
CONCORD. This term is applied to concords, ex-
cept the fourth and fifth.
~———_ MEASURE, the name by which twofold measure
‘was once designated.
PERIOD, a termination that Boek not fully satisfy
the ear.
IMPERFETTO, imperfect.
IMPERIOSO, authoritative, imperative.
IMPETO, con, IMPETUOSITA, con, IMPETUOSO, IMPETUO-
SAMENTE, (J.) with impetuosity.
IMPONENTE, (J.) with haughtiness. x
IMPRESSARIO, (J.) the name given to the manager of an opera.
IMPROMPTU, (F.) an extemporaneous production.
IMPROVVISAMENTE, (Z.) extemporaneously.
IMPROVVISARE, (J.) to compose or smg extemporancously.
IMPROVVISATORI, (J. Pi.) persons gifted with the power of re-
citing or singing verses extemporaneously.
IN, (J.) in; as, in tempo, in time.
— ALT. This term is applied to notes which are situated above F
on the top line of the treble stave.
~ ALTISSIMO. All notes which run higher than F above the third
additional line in the treble are said to be in altissimo..
INCISORE DI NOTE, (Z.) an engraver of music.
INCORDARE, (J.) to string an instrument.
INCIDENTAL, airs, duets, trios, &c., called forth by the Pole a ,
tenor of a drama.
INCOMPOSITE, those intervals which are simply constituted, and
in the calculation of which we take no notice of the intermediaries,
but only consider the terms. .
INCONSONANCE, the effect of two ywpreeceys, or disagreeing
sounds.
INDE“ISO, (J.) undecided. This term indicates slight changes of
time, and a somewhat capricious value of the notes.
Rp
@
DICTIONARY OCF MUSICAL TERMS. ~ 73
INDEX. See Direct.
-ENDIFFERENZA, con, (J.) with indifference, irresolutely.
IN DISPARTE, used in operatic music to signify that the part is
-to be addressed to some one aside or not taking a part in the per-
formance.
INFANTILE, (f.) childlike, infantine; the thin quality of tone
observable in the upper notes of some female voices. 2 ;
INFERNALE, (J) infernal. > *
INFLATILE. Wind instruments, as ato, clarinets, &v., are 80
termed.
INFLECTION, any change or modification in the pitch or tone of
the voice. a
INFINITE. Those canons are thus called which are so constructed
that the end leads to the beginning, and the Leena of which-
may be incessantly repeated.
INFRA, beneath. ‘
IN FUGUE, any movement the chief feature of which is constituted
by the support of a single subject.
INGANNO, (I.) a deception.~ It is generally applied to interrupted
cadences, though occasionally also to any unusual resolution of a
discord, or unexpected modulation.
INNOCENTEMENTE, INNOCENTE, INNOCEN ZA, con, w) in
an artless and simple style.
INNO, (J.) a hymn.
IN PALCO, (J.) a stage performance. Oratorios were originally
performed in Italy on a stage erected in the church; that is, in
paleo.
~ INQUIETO, (2) perturbed, uneasy, with disquietude.
INSEGNAMENTO, (J.) instruction. |
INSENSIBILMENTE, (J.) insensibly, by small degrees.
INSTRUMENT, in music, any sonorous body artificially constructed
for the production of sound. They are divided
into three kinds — wind instruments, stringed
instruments, and instruments of percussion.
——-——-———- A ARCHET, (/.) a-bow instrument.
VENT, (F.) a wind instrument.
INSTRUMENTAL MUSIC, music composed for instruments.
INSTRUMENTATION, the finishing of an instrumental piecr3
the act of embellishing or filling up an outline.
7 ‘
4 DICTIONARY OF MUSICAL TERMS
INSTRUMENTAZIONE, (Z.)‘a term equivalent to instrumentation,
or adaptation for the orchestra.
INTAVOLARE, or INTAVOLATURA, (F.) musical notation.
INTENTIO; (Z.) the passage of the voice from grave to acute.
INTERRUPTED, a term applied to those closes or cadences itt
which the bass, instead of falling or rising from the fifth to the
key-note, passes to some other, and interrupts the full mane, oF
final cadence,
INTERLUDE,
INTERLUDIUM, (Z.)
INTERMEZZI, (/. Pi.) mterludes or detached dances introduced
between the acts of an opera.
INTERMEZZO, (J.) intermediate, placed between two others.
INTERRUZIONKE, (J.) an atereap ios: as, senza interruzione, play
on without interruption. =~ :
INTERVAL, the distance, or difference of pitch, between two notes;
INTERVALLE, (F.)
INTERVALLO, {1.) ; psec
ENTERMEDIATE, a term sometimes sed to accidentals.
IN TRIPOLI, a composition in three parts.
INTRODUCTORY, movements preparative of that which is te
follow.
INTRODUTFTORIO, (/.) introduction,
INTRODUCTION, that movement in a composition designed to
bespeak the attention, and prepare aes ear for the movements that
are to follow.
[NTRATTO, a martial air performed at a triamphal entrance of an
army or procession.
INTONATION, in singing, implies the emission of the voice so as
to produce any required note in proper tune.
INTONATE, to sound the notes.
«NTONAZIONE, (J.) intonation.
INTRADA, INTRODUCIMENTO, INTRODUZIONE, (J.)} an
introduction.
INTREPIDAMENTE, INTREPIDEZZA, con, (I.) with intre-
pidity.
INTROITUS, (Z.) the beginning of the mass or Catholic service.
INVERSION, such a change of position in respect to intervals and
ehords as arises from placing the upper notes at bottom, and the
bottom notes above. :
an intermediate strain or movement,
DICTIONARY OF -MUSICAL TERMS. AD
[INVERTED TURN, an embellishment formed by prefixing three
notes to a principal note.
INVITATORIUM, (L.) a term applied to the antiphone or response
to the psalm Venite, exultemus.
INVOCAZIONE, (Z.) an invocation, a prayer.
IO BACCHE, (Z.) a Bacchanalian burden in the lyric poetry of
the Romans.
— TRIUMPHE, (Z.) in the lyric poetry of the sae a shor
of triumph.
IONIAN, one of the Greek modes.
IRATAMENTE, IRATE, (J.) passionately, with anger.
IRLANDAIS, IRLANDAISE, (F.) a dance or melody in th
“Irish style.
TRONICAMENTE, (J.) ironically.
IRRESOLUTO, (J.) irresolutely, hesitatingly.
IRRELATIVE, a term applied to any two chords which do not
contain some sound common to both.
IRREGOLARE, irregular. Modgs are thus called when they run
many degrees both above and below their octaves. A cadence is
said to be irregular when it does not end upon one of the essen-
tial chords of the mode in which the piece is composed.
ISOCHRONOUS, (Gé.) an equality of time in the various parts.
ISTRONENTE MUSICO, (J.) a musical instrument,
»STESSO, (/.) the same ; as, istesso tempo, the same time.
ifHYMBOS, (Gé.).a dance in honor of the Bacchanalian deity of
the Greeks.
ITALIENNE, (F.) Italian ; as, & 7 Italienne, in the Italian style.
ITALIAN SIXTH, that species of the chord of the superfluous
sixth in which that interval is accompanied only by a major
third. In the key of G, this chord will run
are
ITA MISSA EST, (Z.) the termination of the mass, sv ng by the
prisat to Gregorian music.
ie DICTIONARY OF MUSICAL TERMS.
J.
JAEG 3R CHOR, (G.) hunting chorus.
JALEME, (Gk.) a mournful song.
JAR, to disagree in sound.
JARGON, the result of the union of two or more discordsnt
sounds.
JEUX, (Ff. Pi.) stops in organ playing; as, jeux forts, loud stops;
grand jeu, full organ.
JEW’S HARP, a small instrument made of brass or steel, and
shaped as a lyre; when played, it is paws between the teeth,
and struck with the fore finger.
JIG, a quick movement in compound time of 8 g oF gh
JINGLES, loose pieces of tin Teas around a tamborine to increase
the sound.
JOCULATOR, (F.) strolling musicians.
JONGLEURS, (Ff. Pl.) Itinerant musicians were formerly so called.
JUBE, or JULE, a hymn sung@y the Greeks and Romans at har-
vest time, in honor of Ceres and Bacchus.
JUBILEE. This word is derived from Jubal, the supposed inventar
of musicalinstruments. It was applied by the Hebrews to the yea
of deliverance, which was proclaimed with the sound of a horn.
JUST, JUSTE, (F.) an epithet applied to all consonant intervals,
and to those voices, strings, and pipes, which give them with
exactness.
JUSTESSE, (F.) exactness « or purity of intonation.
K.
KABARO, an Egyptian and Abyssinian cree
KALAMAIKA, a lively Hungarian dance in } time
KAMMER, (G.) chamber; as,
————--CONCERT, a chamber concert.
——_———_~-MUSIK, chamber music.
KAPELLMEISTER, (G.) a chapel master.
KECKHEIT, (G.) boldness; as, mit keckheit vorge tragen, -witl 6
bold and vigorous style of performance.
KEENERS, the name of the Irish singing mourners.
KEMAN, a Turkish violin with three strings
eo
DICTIONARY OF MUSICAL TERMS. Me
XERANIM, Hebrew sacerdotal trumpets. s
KERAS, t 1e hydraulica.
KEY, the lever by which the notes of a iano: Soate or organ are
made to sound. Flutes, hautboys, and other wind instruments
have also their keys, by which certain holes are opened or shut.
A key is also an assemblage of notes, each of which has a fixed
and distinct relation to one particular note, which, for this reason,
is called the key-note.
KEY-BOARD, the row of keys of a piano-forte or organ, when
spoken of collectively.
NOTE, a note to which a series of other subordinate notes
bears a distinct relation.
KING, an instrument made of stones.
KINOR, (H.) the harp of David.
KIRCHEN-MUSIK, (G.) church music.
KIT, a small or pocket violin used by dancing masters.
KLANG, (G.) sound.
KLANGESCHLECHT, (G.) a genus; as, chromatisches klangesch«
lecht, the chromatic genus.
KLAPPE, (G.) a key belonging. to any wind instrument.
KLAPPEN FLUGELHORN, (G.) the keyed bugle.
KLAPPTROMPETE, (G.) a keyed trumpet. F
KLEIN, (G.) minor, in regard to intervals.
KNELL, the sound of the funeral bell.
KREUZ, (G.) the character called a sharp.
KROUSTA, (Gk.) a general name applied by the ancients to all
pulsatile instruments.
KRUMHORN, a portable wind instrument formerly much in use,
the formation and tone of which resembled a small cornet.
KURZ, (G.) short.
KYRIE, (Z.) Lord. In the Catholic service, the first movement of
the mass begins with music set to the words Kyrie eleison, Che iste
eleison, Lord have mercy upon us, Christ have mercy upon us
L.
L., L. H., indicate the left hand in piano-forte music.
LA, a syllable used in solfaing to the note A.
_ LA, (J. and F.) the; as, da voce, the voice.
7*
18. DICTIONARY OF MUSICAL TERMS.
LA CHASSE, (F.) a piece of music in the hunting style.
—— VOLTA, a lively dance or tune.
~ LACRIMOSO, LAGRIMOSO, (Z.) in a mournful, dolorous style.
L’AME, (F.), the sound-post of a violin, tenor, &c.
LAMENTS, name given by the Scotch to some of their oid serious
and melancholy airs. ;
LAMENTATIONE, (J.) to be sung in a melancholy style.
LAMENTATIONS, the funeral music of the ancient Jews.
LAMENTATRICES, Hebrew female vocal performers, hired to
chant over the dead, and to sing dirges‘at funerals.
LAMENTABILE, LAMENTABILMENTE, LAMENTOSO, LA-
MENTANDO, LAMENTEVOLMENTE, LAMENTIV OLE, (J.)
plaintively, mournfully.
LAMPADARIUS, (Gk.) the two principal singers in the “patri- ,
archal church of Constantinople.
LANDLER, (G.) a country dance or air in a rustic and popular
style, generally in e time.
LANDU. See Lundu.
LANGSAM, (G.) slowly.
LANGUEMENTE, LANGUENDO, (Z.) languishingly.
LANGUENTE, LANGUIDO, (J.) with languor.
-LA PRIMA INTENTIONE, (J.) the original design of a come
poser, distinguished by this appellation from an altered or int
proved copy.
LARGAMENTE, LARGHEZZA, (J.) in a full, free, broad style
of performance.
LARGE, the name of a note shaped thus, Hees found in ancient
music. It is equal to eight semibreves. eid
LARGEMENT, (F.) very slow.
LARGHETTO, (J.) indicates a time slow and measured in its
movement, but less so than largo.
LARGHISSIMO, (J.) extremely slow.
LARGO, (Z.) a very slow and solemn degree of movement.
—— DI MOLTO, (J.) of unusual size.
LARIGOT, (F.) an organ stop, tuned an octave above the twelfth.
LARYNX, (Gk.) The larynx is composed of five annular cartilages,
placed one above another, and united by elastic ligaments, o}
fibres, by which it is so dilated and contracted as to be _ ai
a ed all the various tones of the voice.
DICTIONARY OF MUSICAL TERMS. 73
{.AUDI, or LODI, name formerly given to certain sacred songs ix
praise of the Deity.
LAUDAMUS, (L.) We praise thee. A part of the mass.
LAUDISTI, or LAUDESI, (Z.) members of a society instituted
at Florence, in 1310, for the performance of the Laudi. ;
LAUS PERENNIS, (Z.) a perpetual singing preserved at Antioch
_ by order of the monks. It departed. with the vestal fires of an-
tiquity.
LAUF, (G.) that part of a violin, tenor, &c., into which the pegs
are inserted; also, a rapid succession of notes.
LAUTE, (G.) the lute.
LAY, a light, fanciful song.
LE, (I. Pi.) the; as, le voci, the voices.
LEADER, one who in a concert takes the principal violin, receives
- the time and style of the several movements from the conductor,
and communicates them to the performers.
LEADING NOTE, the seventh note of the scale of any key, wher
at the distance of a semitone below the key-note.
LEAPS, a distance consisting of several intermediate intervals. -
LEANING NOTE, a fore note.
LEBHAFT, (G.) lively.
LE CHANTE ROYAL, (F.) verses sung to the Virgin atid saints
by pilgrims from the holy sepulchre. os
LECON, (F.) a lesson. A composition for any instrument of ar
instructive character. ‘
LEDGER LINES, extra lines added to those of the stave.
“LEGATISSIMO, (Z.) very smoothily connected.
LEGATO, (J.) a word implying a close, gliding manner of perform
ance.
LEGATURA, or LEGARE, a binding together.
LEGEREMENT, (F.) *
LEGGIARDO, (ZL) ids ‘
LEGGIEREMENTE, J.) ( With lightness, gayety.
LEGGIEREZZA, con, (1.)
LEGGIERISSIMO, (Z.) with the greatest possible facility ar |
lightness of touch and execution.
LEGGIERO, (/.) in a light manner.
LEGNO, col, (I.) with the bow stick.
LEICHT, (G.). easy.
RO DICTIONARY OF MUSICAL TERMS
uESSON, a word formerly used to signify those exercises wnica
are now called sonatas.
LENTANDO, (J.) with increased slowness.
LENTEMENT, (F.)
LENTEMENTE, (Z.) bs slow time.
LENTO, (2)
LENTEUR, avec, (F.) 2 with slowness, in a sedate and lmgering
'LENTEZZA, con, (I.) ¢ pace.
LETTURA, (J.) reading, as in the case of music. y
LEUTO, a musical instrument of the lute kind.
LEVARE, the down beat.
ANTIPHONAM, an expression used in the old churek
music, signifying to begin or open the leading part of the anthem
LIAISON, (F.) smoothness of connection; also, a bind or tie,
LIBERAMENTE, (J.) freely, easily.
LIBRETTO, (J.) The book of the words of an Italian opera is so _—
called.
LICENSE, a liberty taken in composition or performance, by which
the master violates, for a moment, those received rules and regula-
tions which form the established system of harmony and modula-
tion.
LICHANOS, (Gk.) the third chord of the two first tetrachords.
——— HYPATON, (Gké.) the third sound of the first 0)
lowest tetrachord.
MESON, (Gk.) the third sound of the meson, o
‘middle tetrachord.
LIGHT, a thin, airy composition. The term is also applied to those
keys which make but little resistance to the pressure of the
fingers.
LIGNE, (F.)-
LINEA, (1.) a line of the stave.
LINIE, (G.)
LIMMA, or REINNART, an interval used in the ancient Greek
music, which is less by a comma than a major semitone.
LINK, (G.) left; as, linke hand, the left hand.
ELINTO, a small lute.
' INES, those members of a stave on and between which the ' nrteg
are placed. They were designed by Guido. At their first ir uo
duction the spaces between them were not used
“
’
—_——
DICTIONARY OF MUSICAL TERMS. — 81
LINOS, a x'nd of rustic air used by the ancient Greeks, who had
also a dirge of the same name.
LIQUID, an epithet metaphorically applied to a smooth succession -
of the sweet and mellow sounds of any voice or wind instrument ;
also, to certain clear and sweet tones.
LIRE, (F.) to read, as regards music. ~
LIRA, lyre.
GRANDE, (J.) the viol di gamba, a viol with six strings,
formerly much used in Germany, but at present little prevtised.
LISCIO, highly finished.
L’ ISTESSO MOVIMENTO, L’ ISTESSO TEMPO, (I.) in the
same time as the previous movement.
LITTANTA, the litany of the church.
LITTUUS, a staff used by the Angers, in the form of a erosier. It
was an instrument that made a shrill or acute sound.
LIUTO, (J.) the lute.
LOBGESANG, (G.) a hymn, a song of praise.
LOCO. (Z.) This word implies that a passage is to be played just
~ as it is written, in regard to pitch; it generally occurs
after 8va alta, or 8va bassa.
PEDALE. This term denotes that the notes are to be played
in the same pitch in which they appear; also, that the pedal ix to
be used.
LOCRICO, or LOCRENSE, one of the ancient topies or modes.
LONG, the name of a note formerly in use, equal to four semi- |
breves. ;
LOUREH, (/.) an old-fashioned French dance. E :
LOUVRE, (f.) a well-known French air, otherwise called l’aimable
_ waingueur, for which Louis XIV. had a remarkable predilection.
‘LOW, a word of relative signification, and arbitrarily applied to any
part, passage, or note situated towards the bottom of the compass .
of that species of voice or instrument ay which it is designed to
be executed.
LUGUBRE, (J.) mournfully, sadly.
LUNDU, a Portuguese dance in a or 5 time.
LUNGA PAUSA, (1) an expression signifying that the performes
must cease playing for a considerable time.
LUNIG, a species of song much used in the Hebrides and Scotlani.
It is a short, plaintive air, sung by the women at their diversions
and work,
s
82. _ DICTIONARY OF MUSICAL TERMS.
L 70GO, or LOCO, in place. To be suug in the way in whic
they stand. Where a change has been employed, this term sign‘«
fies that the change terminates. ;
LUSINGANDBO, LUSINGATO, LUSINGHEVOLE, LUSINGHE:
VOLMENTE, LUSINGHIERO, LUSINGHIERE, (J) sooth-
ingly, persuasively.
LUTE, a stringed instrument, formerly much esteemed.
LYCHANOIDES, (Gk.) the middle sound of those which Bacchius
and other Greek writers call Spissz.
LYDIAN, the name of one of the ancient modes.
LYRA, (J.) the lyre.
.——— DOPPIA, (.) an ancient instrument, not at present known.
' —++— MENDICORIUM, (Z.) an ancient instrument, the Pa of
which resembled that of a violin.
——- GUITARRE, (Ff.) a French instrument sistas six strings, ~
f and formed somewhat like an ancient lyre.
VIOL, an instrument once much in use. It was formed
like a viol, had six strings and seven frets or stops, to which were
assigned seven letters of the alphabet, viz.: B, C, D, E, F, G, H,
the letter A answering to the open string wherever it occurred.
.sX RE, one of the most ancient of stringed instruments, and said to
have been invented by Mercury, in the year 2000 B. C.
LYRIC, poetry adapted for and intended to be set to music.
LYRICHORD, ay ancient stringed instrument.
LYRODI, vocalists among the ancients, who used the lyre in their
performances.
LYTIERSE, name given by the ancient Greeks to the song of the
reapers, : c
M.
-MA, (J.) but; as, allegro ma non troppo, quick, but not too mucn so.
MACHUL, an instrument used by the Hebrews. The name is sup-
posed to have been given to two different instruments, one of the
stringed, and the other of the pulsatile species.
MADRIGALE, (J.) MADRIGALS, elaborate compositions for
voices in five or six parts, in the ancient-style of imitation ang
fugue.
MADRIGALI CONCERTATI, those madrigals that have #1 ac-
cormpasiment. ~
vICTIGNARY OF MUSICAL TERMS. 8d
MADRIALE, (J.) name formerly given by the Ital'ens to the inter
mezzi, or pieces performed between the acts of a play or an opera.
MAESTA, con, MAESTOSO, (J.) with majesty and grandeur.
chapel master, or director of the
Bete 1h DL CAP a ae <) choir in a chapel in Catholia
MAITRE DE CHAPELLE, (F.)
countries.
MAESTRO DEL CORO, (J.) the master of the choir.
MAGADIS, an ancient treble instrument furnished with double
strings.
MAGADIZING, aterm in the ancient Greek music, signifying a
vocal performance in octaves, when men and women, or men anc
boys, join in the same air.
MAGGIORE, (J.) the major key.
MAGODI, (Gé.) humorous strolling musicians.
MAGODIS, an ancient instrument having two sets of strings.
MAGGIOLATA, a song for the month of May.
MAGNIFICAT, (Z.) part of the vespers.
MAIN, (F.) the hand; as, main droite, main gauche, or M. D., M. Gy
the right or-left hand in piano music.
—— DROITEH, (/.) the right hand.
GAUCHE, (F.) the left hand.
MAJOR, greater, in respect to intervals and moaes.
-—— THIRD, a third whose degrees are large seconds. -
-~———— MODE, one of the two modern modes; that in which the
third from the key-note is major. i
MAJEUR, (F.) major, greater — in opposition to minor, less — in
respect to scales, intervals, modes, &c.
MALINCONIA, MALINCONICAMENTE, MALINCONICO, (1)
in a melancholy style.
MANCA, left hand.
MANCANDO, (1.) indicates a gradual decrease in the quantity of
tone. ;
MANCHE, (f.) the neck of a violin. _
MANDOLINE, (F.) 2 an instrument with four strings, and with
MANDOLINO, Gs oS frets, like a guitar; it is tuned like the
violin. :
MANICO. (J.) the neck of a violin, tenor, &c.
MANICHORD, a stringed instrument, somewhat resemt Pie a
spinet.
84 DICTIONARY OF MUSICAL TERMS.
MANIEREN, (G. Pi.) graces, embellishments.
MANQ, (1.) the hand; as,
——— DRITTA, (JZ) the right hand.
-— SEINISTRA, (J.) the left hand.
MANUAL, (G.) the key-board.
MAN TALE. This term is used to cabiats the Land keys of =»
organ, or any instrument uaving foot keys, in contradistinction te
the latter.
MANU DUCTOR, (L.) name piede by the ancients to the officiate
whose province it was to beat time with his hand.
MARCATO, (J.) in a marked and emphatic style.
MARCATISSIMO, (J.) very strongly marked.
MARCH, a military air or movement composed for drums, trumpets
_ -and other martial instruments.
MARCHE, (F.) amarch In harmony, a symmetrical sequence of
chords. ‘
MARCIA, (1.)
MARSCH, (G.)
MARCIA CON MOTO, a quick march.
MARTELLANDO, (J.) strongly marking, or, as it were, hammering
the notes. é
MARTELLARE, (J.) to strike the notes so as to imitate the blow
of a hammer.
MARTELLATO, (J.) forcibly marked, hammered.
- MARZIALE, (J.) in a martial style.
MASRAKITHA, a pneumatic instrument used by the ancient He-
brews, composed of pipes of various dimensions, fitted into a
wooden chest open at the top, and stopped at the bottom with
wood covered with a skin.
MASCHARADA, buffoonery music.
MASK, MASQUE, a sort of musical drama or operetta performed
by characters in masks.
MASS, a Catholic musical service, consisting of several movements
~MASSIG, (G.) moderately; as, mdssig langsam, moderately slow.
MASURE, MASURECK, MASURKA, MAZOURK, MAZURKA,
MAZURECK, (G.) a quick Polish dance in ; time, with a pecu-
liar rhythmic construction, somewhat like that of the polacca.
MATINS, (F.) the early morning service in convents and Catholi«
churches. =
; a march.
DICTIONARY OF MUSICAL TERMS. 85
MATINATA, a song for the morning.
MATERIA MUSICA, matters relating to music. ©
MAXIMA, or MASSIMA, the note called a largo.
MEAN, a term formerly applied to the tenor or medium part in
compositions for several voices, male and female.
— CLEF, tenor clef.
MEASURE, that division of time by which the air and motion of
music are regulated.
MEDESSIMO, (J.) the same.
TEMPO, (J.) in the same time.
MEDIANT, the third note of the scale.
MEDIANTE, (F.) the mediant or third note of the scale.
MEDITATIO, (L.) the middle of a chant.
MEDLEY, an assemblage of detached parts or passages of different
well-known songs, so arranged that the latter words of the line of
one part connects with the beginning of that of another song.
MELANGE, (F.) a composition founded on several favorite airs; a
medley. _
' MELODY, a series of single sounds, so arranged as to produce a
varied and agreeable effect on the ear.
MELODIA. (1)
MELODIE, (F.) { melody ,
MELODIOUS, a term applied to any pleasing succession of sounds
given in time and measure; also, to clear-toned voices.
MELODIOSA, (1) meiidipie,
MELODICS, forms of study relating to the general nature of melody.
MELODIZE, so to arrange words that their pronunciation is melo-
dious.
’ MELODISAMENTE, harmoniously, or in just melody.
MELODIAL MODULATION, a change from one key to caiabee.
produced by the result of successive melodic intervals.
MELODRAMA, a species of pantomimic drama, in which
MELODRAME, (F.) much of the interest depends upon de-
MELODRAMMA, (Z.) scriptive instrumental music.
MELOS, (Gé.) aterm applied by the ancients to the sweetness of
any melody, or to that quality or character by which a melody
was rendered agreeable.
MELOPOIA, (Gé.) aterm in ancient music, signifying the art 01
1ules of composition.
8
86 DICTIONARY OF MUSICAL TERMS,
MELOPOMENOS, vocal melody.
MEME, (F.) the same.
——— MOUVEMENT, (F.) in the same time.
MEN., (J.) an abbreviation of the word meno, less ; as, mew forte
_ less loud, men vivo, with less spirit.
--—— FORTE, (Z.) less loud. :
M<ENESTRAUDIE, (F.) a company of minstrels.
MENO, (1.) less.
MESSA, (/.) a mass or Catholic musical service.
_ ——— CONCERTATA, (J.) a concerted mass.
DI VOCE, (J.) a swelling and diminishing of the voice on
a long-holding note. 1
MESAULICI, (Gk.) pieces performed between the divisions of the
Greek drama.
MESCOLOMENTO, or MISTIO, (Gk.) rules for so arranging the
sounds of a melody that the voice or instrument might be kept
“within a certain compass.
MESCOLANZA, a combination of secular and ecclesiastical music.
MESE, (Gk.) a name given by the Greeks to the central string of.
the lyre, but more:commonly denoting the sound which was the
centre of their system of tetrachords.
MESOCHORI, (Gk.) musicians among the ancients who presided
at public performances, and directed the time by beating with
their feet, on which they wore wooden shoes.
MESOLABE, (Gk.) an instrument for dividing time into equal
parts.
MESOPYCNI, (G&.) the second sound in each tetrachord.
MESONYCTICON, midnight singing of the early Christians. .
MESOIDES, (Gk.) a kind of melepeia, the sounds of which wera
chiefly confined to the middle chords,
MESSE, (F.) a mass, or Catholic musical service.
MESTO, (J.} mournfully, sadly, pathetically.
MESTOSO, (J.) sadly, pensively.
MESURE, (F.) the bar or measure.
A DEUX TEMS, (F.) common time.
——-———— TROIS TEMS, (F.) triple time.
METALLICO, (Z.) of a metallic quality.
METHODE, (F.) a treatise or book of instructions
METEDO, (J.) method,
La .
DICTIONARY OF MUSICAL TERMS. 87
METRE (fF, measure.
METRICS, th 2 measure adopted in poetry and music.
. METRONOME, (F.) an ingenious instrument for ix licating the
~ exact time of a musical piece, by means of a pend dum, which
may be shortened or lengthened at pleasure.
METRUM, (G.) the measyre or time. q
MEZZA, (Z.) the feminine of mezzo, indicating a medium, in the_
middle, or half. .
BRAVURA, (JZ.) a song of moderate difficulty as to exe-
: cution.
—_—— MANICA, J.) the half-shift, in violin playing.
VOCE, (J.) with a moderate tone and manner.
MEZZO, (1.) half; as, mezzo voce, in a subdued tone; mezzo pian,
rather soft; mezzo forte, rather loud.
CARATTERE, (J.) an expression applied to songs of a
middle character, songs neither insipidly plain nor highly
ornamental,
FORTE, (J.) rather loud.
PIANO, (J.) rather soft.
SOPRANO, (J.) a female voice of a lower pitch than the
soprano or treble. gA C clef for this voice used to be
placed on the second line of the stave.
TRILLO, (J.) a sixteenth note.
TENORE, (Z.) half tenor.
~——— TUONO, (J.) a semitone. '
MI, (J.)_a syllable used in aipteets to designate E, or the third note
of the major scale.
— CONTRA FA, (L.) terms applied by ancient theorists to all
false relations between the notes of one chord as compared with
the notes of that which immediately preceded or followed it.
MIGNON, (F.) favorite.
MILITARMENTE, (J.) in a military style.
MIMES, singing mimics, once in great repute.
MINAGNGHINIM, a pulsatile instrument used by the Hebrews,
consisting of a square table of wood furnished with a handle ; over
.this table was stretched an iron chain, or hempen cord, passing
through balls of wood or brass, which, striking against the table
produced a clear sound heard at a great distance.
MINACCIOSO, MINACCIANDO, (/,) ina threater ing syle.
88 DICTIONARY OF MUSICAL TERMS.
“ MINEUR, (F.) minor, in speaking of keys and intervals.
MINIM, a ote of which the duration is equal to one half of tis
semibreve.
— —-— KEST, half note rest.
MINIMA, minim.
MINOR, less, in regard to ater
MODE, that of the only two modes suepela in roderg
music in which the third degree of the scale fram the
tonic forms the interval of a minor third. “
———. CANONS, certain clergymen of the church of England,
who occasionally assist in the performance of the service and an-
. them.
MINORE, (I.) less, in respect to intervals ; minor, as to modes and
keys.
MINSTRELS, itinerant bards or poet-musicians, who flourished in
the tenth and eleventh centuries.
MINSTRELSY, the performance of a minstrel.
MINUET, a movement in : measure, of a slow and graceful motion,
and always beginning with the beating note; this is a dancing
minuet. ‘There are others of a time somewhat quicker, and which
were formerly much used as concluding movements of overtures,
sonatas, &c. When thus employed, it is usually marked scherzo.
MINUE, or MINUETTO. See Minuet.
MISERERE, (L.) Have mercy. <A psalm of supplication.
MISSA, (Z.) amass. In a musical sensé@, the mass consists of five
principal movements — the Kyrie, Gloria, Credo, Sanctus, ‘and:
_ Agnus Dei.
MISSAL, an sides of the chants introduced into the Catholie
service by Gregory the Great.
MISTERIOSAMENTE, MISTERIOSO, (J.) in a mysterious man-
ner.
MISURATO, (J.) in measured or strict time.
MIT, (G.) with; as, mit begleitung, with an accompaniment.
MITTELSTIMMEN, (G. Pi.) the middle parts.
MIXED CADENCE, the triad on the subdominant followed by
that on the dominant.
MIXOLYDIAN, the name of one of the ancient modes
MIXTURE, an organ stop, consisting of two or more yanks of
- pipes.
DICTION iY OF MUSICAL TERMS. 89
MOBILE, name given by the Greeks ‘to the two middle chords +f
each tetrachord.
MOCIGANGA, (S.) a musical interlude common in Pag
MODE, a certain arrangement of tones and semitones. .
MODERATAMENTE, MODERATO, MODERAZIONE, con, (I.}
with a moderate degree of quickness.
MODERATISSIMO, (J.) in very moderate time.
MODESTO, (J.) modestly, quietly.
MODINHA, a short Portuguese song. 7
MODO, (J.) a mode; as,
MAGGIORE, (J.) the major mode.
— MINORE, (J.) the minor mode.
MODULATION, a change of key.
MODULAZIONE, (J.) modulation.
MODUS, (Z.) mode.
MOLL, (G.) minor, in relation to modes and keys; as, A moll, A
minor; H moll, B minor.
MOLLEMENTE, (Z.) softly, effeminately.
MOLTO, (J.) very, extremely ; as, molto allegro, very quick; molie
adagio, extremely slow.
ADAGIO, (J.) extremely slow. ©
———— ALLEGRO, (1) very quick.
MOSSO, (L.) with quick emotion.
——— SOSTENUTO, (J.) in a manner very much sustained.
——— VIBRATO, very violent or rapid.
VOCE, with full voice.
MOLLE, (F.) This word, used as a musical term, signifies that
the tone is a small second or half degree lower than its usual
pitch. 4
MOLOSSUS, three long or the same number of accented noted im-
mediately following each other, composing a musical foot.
‘MONAULOS, (Gé.) a kind of single flute, of higher antiquity ‘han
even the lyre. -Its shape was crooked, and something like th: of
a bull’s horn. J a
MONFERINA, (J.) a very lively dance in : time.
MONOCHORD, an instrument with one string, for e icidating the
» doctrine of intervals.
MONOCORDO, (1.)
MONOCORDE, A, (F.)
8*
on only one string,
90 :CTIONARY OF MUSICAL TERMS.
MONODIA, YONODIE, (J.) MONODY, a term ancier tly appied
, toa m2lody intended to be performed by a single voice.
MONODIC, resembling or possessing the nature of a monody.
MONODICA, (Z.) See Monody.
MONOPHONIC. See Monodia.
MONOLOGUE, a poem, song, or scene, written aa composed fer
single performer.
MONOTONOUS, gt applied to any instrument which pre
duces but one tone"br note.
MONTANT, (F.) ascending.
MORALIZATIONS, name given to certain old Scotch puritanical
songs.
MORCEAU, (F.) a piece or musical composition of any kind.
MORDENTE, (J.) a grace formed by two or more notes preceding
the principal note.
MORRICE-DANCE, a dance once much practised by soldiery ; its
moyentents are accompanied with the sound of bells and clashing
swords. .
MORISCO, alla, (I.) in the Moorish style.
MORENDO, (J.) gradually diminishing the sound till it dies away,
and at the same time slackening the time.
MORMORANDO, (J.) murmuring. on
MOSSO, (/.) movement; as, piu moiso, quicker movement ; meno
mosso, Slower movement. $
MOSTRA, (J.) a direct.
MOTETTO, (I.) a piece of sacred music for several voices.
MOTIVO, (J.) a subject for a fugue or other composition.
MOTO, con, (I.) with agitation. This word is sometimes added to
the.Italian word denoting the speed of the movement ; as, andante
con moto. : 3
MOTO CONTRARIO, (J.) in contrary movement. A term used
in counterpoint to imply that the melody of one part moves inan
* opposite direction to that of another.
MOTTEGGIANDO, (J.) jeeringly, jocosely.
MOTUS, (Z.) motion ; as,
CONTRARIUS, (Z.) contrary motion.
OBLIQUUS, (L.) oblique motion.
——-— RECTUS, (Z.) similar or direct motion.
MOUTHPIECE, the part of a trumpet or similar instrument whist
is y{aced in the mouth while performing.
DICTIONARY OF MUSICAL TERMS. 91
_ MOVEM ENT, a strain of music, or a connected passage.
MOVIMENTO, (J.) time, movement.
MUSE, name originally given to the muzzle or tube of the Skating
MUSETTE, the name of asmall bagpipe, the performers on which
were called musars; also, an air generally written in common
time, of a soft and soothing character; also, a dance of similar
style. ‘
MUSARS, performers on the musette.
MUSIC, the language .of sounds.
MUSICAL GLASSES, several glasses tuned to the notes of the
scale, and composing the harmonica, an instrument invented by
Dr. Franklin. ;
MUSICA ANTIQUA, the music of the Greeks and Romans down
to the eleventh century.
ARITHMETICA, that ‘part of musical science which
considers sounds by the help of numbers.
ARTIFICIALE, music that is not performed by the nat-
ural organs of the voice, but by instruments.
ALLIVA, that part of musical science which regards
only the execution, without considering the reasons or
cause of the good effect of such execution.
—— — CHORAICA, dancing music.
CHORALE, the music of a chorus or chant.
—-—— CHROMATICA, a style of music in which there are
many chromatic signs.
—-—— COMBINATORIA, that which teaches the manner of
combining the sounds, or rightly joining them in as
many different manners as possible.
—-—-— CONTEMPLATIVA, SPECULATIVA, or THEORICA,
the treatment of sounds, examination of their natures,
properties, and effects, without regard to the executive
part.
—--—-— DIATONICA, a species of music, the scale whereof pro-
ceeds by tones and semitones. -It is one of the geners
of the ancients, and is thought to be the first, on ace _
count of its being so easy and natural.
—.—- DIDACTICA, a speculative consideration of the quantity,
proportions, and different qualities of sound.
———— DRAMATICA, SCENICA, or THEATRALE, mn usie
ar -anged for —— effect.
92 ’ DICTIONARY OF MUSICAL TERMS. .
MUSICA EC: LESIASTICA, or DI CHIESA, for the churc>.
ENWARMONICA, that wherein the enharmonic liesi«
was frequently used. :
FIGURALIS, FIGURATA, or COLORATA, figurati¢e
music, wherein the notes are of different value; and t.1¢
motions of various time.
——— HARMONICA, a piece consisting of many parts, which,
though very different, when played together, make a
very agreeable whole.
HISTORICA, a treatment of the origin and invention of
music, its modes, notes, instruments, &c.; also, the
lives and writings of authors on the subject.
INSTRUMENTALIS, instrumental music.
—— MANIEROSA, music adapted in its style to the manners
of the people.
———. MELISMATICA, or MELODICA, the most correct ar-
rangement of music, according to the rules of melody.
MELOPOETICA, the art of ranging and disposing sound
in an agreeable manner,
METRICA, the harmonious cadence of the voice.
NATURALE, vocal music.
PATHETICA, a moving and affecting kind of music, that
touches and causes emotions in the mind, of love, sorrow, pity, or
any other passion.
MUSIC OF THE SPHERES, that harmony Feast k by the
ancients to result from the orderly motion of the heavenly bodies.
MUSICO, (J.) a musician; also, the name. applied to those male
vocalists who formerly sang the soprano parts in operas, &c.
MUTE, a small instrument which is occasionally placed on the
bridge of a violin, tenor, or violoncello, to damp or diminish the
tone of the instrument by checking its vibrations.
MUTATION, change; as a musical term it refers to the transiticm
of voice at an early age.
MYLOTHROS, (Gé.) the millers’ and bakers’ song.
N.
NACCARE, (J,) the castanets.
NACAIRE, (F.) a kind of brazen drum, formerly sais used in
France and Italy.
DICTIONARY OF MUSICAL TERMS. 93
NACHA HMUNG, (G.) imitation.
NACHLT RUCK, (G.) emphasis, accent. .
NACHSPIEL,.(G.) a postlude, or piece played after some other.
NACHSTVERWANDTE TONE, (G.) nearest relative keys.
NAKOKUS, name of an instrument much used by the Egyptians
in their Coptic churches and religious processions, consisting of
two brass plates suspended by strings, and struck together, by
way of beating time.
NAKED. This word is applied to a number of notes when those
that complete the chord are wanting.
NASAL TONE. In singing, this term implies that the voice is
deteriorated by passing through the nostrils.
NASARD, an organ stop, tuned a twelfth above the diapasons.
NATURAL, the character which restores a note, that has been
sharpened or flattened, to its original state.
-—_—_——-—- HARMONY, that produced by the natural and essen~
tial chords of the mode.
MODULATION, that which is confined to the key of
the piece and its relatives.
NATIONAL SONGS, songs that are identified with the history of
a nation, or the manners and customs of its people.
NAUTICAL SONGS, songs relating to the customs of seafaring
life. ‘
NEAPOLITAN SIXTH, a-chord composed of a minor third and
minor sixth, which is situated on the fourth degree of the scale.
In the key of C major or minor this chord is as follows:
Db, Ab, F
NEANES, one of the eight barbarous terms used by the modern _
Greeks in their ecclesiastical music.
NEBEL, or NEBEL NASSOR, (H.) the name given by the
, ancient Jews to their harp, mentioned in the Psalms as “ an instru-
ment of ten strings.”
NEBENGEDANKEN (G. Pi.) accessory and subordinate ideas.
NECK, that part of a violin, guitar, &c., extending from the head
to the body, and on which the finger-board is fixed.
NECESSARIO signifies that the passagn near which it is plac ec
must not be omitted.
NEGHINOTH, (2) stringed instruments.
NEGLIGENTE, NEGLIGENTEMENTE, NEGLI(ENZA, con,
* p4 DICTIONARY OF MUSICAL TERMS.
CZ. negligently ; without restraint or strict attention to the order
of he piece.
NEG JI, NEI, NEL, NELLA, NELLE, NELLO, (2. ¥ in the.
NETTAMENTE, NETTO, (J.) neatly.
NETE, (Gk.) name given by the Greeks to the fourth, or most
acute chord of each of the three tetrachords which fol
lowed the two first or deepest.
—— DIEZEUGMENON, (Gé.) the final or hignest sound of
the fourth tetrachord.
~——_— HYPERBOLAEON, (Gé.) the last sound of the highest
tetrachord.
SYNEMMENON, (Gk.) the fourth sound of the third tetra-
chord when conjoint with the.second.
NETOIDES, highest note of the ancient scale.
NEUMAE, (Z.) a term applied by old musicians to divisions upon
a single vowel at the end of a psalm or anthem, as a recapitula-
tion of the whole melody.
NEUVIEME, (F.) the interval of a ninth.
NIEDERSCHLAG, (G.) the accented part of a bar.
NINTH, an interval containing an octave and a second.
NINETEENTH, an interval containing two octaves and a fifth.
NOBILE, NOBILIMENTE, (J.) with nobleness; grandeur.
NOCTURNO, (1. ¢52™° 38 Notiurno. A vocal or instrumental
NOCTURNE, (F.) composition, of a light, fanciful character,
suitable for an evening recreation.
NOELS, name given by the French to their Christmas carols.
NOENTA, name given by the ancients to their dirge or funeral
song.
NOIRE, (F.) a crotchet.
NOMES, (Gk.) certain airs in the ancient music sung to Cybele,
the mother of the gods. It was also applied to every air, tha
corhposition of which was regulated by certain determined and‘
inviolable rules.
NOMION, (Gk.) the appellation given by the Grecks to a kind of
love song.
NOMODICTAL, (L.) the name given by the ancient Romans to
the umpires at their sacred games and musical contests.
NON, (J.) an adverb of negation, generally associated with
troppo ; as,
DICTIONARY C¥ MUSICAL TERMS. 99
OBRJANIZARE, to sing in parts.
ORSANO, (J.) a word found in the scores of oratorio choruses, in-
strumental anthems, &c., at the beginning of that
stave designed for the organ, and the execution of the
thorough-bass.
PICCIOLO, (J.) a small organ.
ORGANORUM INTABULATURAZ, the general name formerly
given to voluntaries, preludes, and all compositions for the organ.
ORGAN STOP, any single set of organ pipes.
-—___— PIPES, the square and cylindrical tubes in an organ, frow
which proceed the various sounds of the instrument.
——_—— POINT, a long or stationary bass note, upon which yari-~
ous passages of melody and harmony are introduced.
- ORGANUM, (Z.) an ancient species of counterpoint, in fourths, .
fifths, and octaves. ‘
ORGELGEHAUSE, (G.) the case of an organ.
ORGEL SCHULE, (G.) a school or method for the organ.
STUCKE, (G.) pieces for the organ.
ORGELPUNKT, (G.) an organ point or pedal notes.
ORISCUS, the name of one of the ten notes used in the middle
ages,
ORNAMENTI, {7.)
ORNEMENS, (F.)
ORPHARION, an ancient stringed instrument.
ORTHIAN, (Gé.) a term applied by the ancients to a dactylic nome
- or song, said to have been inverted by Phrygian
Olympus.
---————- MODE, in the Orthian style; quick, and particularly
pleasing on account of its life and spirit.
‘ORNEMENS, (F.) graces; as, the appoggiatura, turn, shake, &c.
O SIA, (1) or else; as, o sia pitt facile, or else in this more easy
manner.
OSSERVANZA, or CON OSSERVANZA, (I.) with scrupulous
exactness in regard to time.
OSTINATO, (J.) persevered in, adhered to, continued in despite .
of circumstances.
DTACOUSTICS, (Gk.) instruments that add to or increase the
sense of hearing.
OIELYVO, (7) a composition in eight parts.
-——-
‘ graces, embellishments, &c.
100 DICTIONARY OF MUSICAL TERMS.
DTTAYVA, or 8va, (J.) an octave. This word is generally joined
with zlta or bassa; the first signifies that the passage to which it
is applied must be played an octave higher than it is written; the
second, that it must be played an octave lower.
OTTAVINA, (J.) the little or higher octave.
OUIE, (F.) the hearing.
OUVERTURE, (F.) 2 an overture, or introductory symphony to a
OVERTURA, (J.) ; dramatic performance.
OVERTURE, the introductory symphony to an oratorio; opera, &¢.,
and generally consisting of three or four different movements.
OXIPYCNI, (Gé.) the name given by the ancients to high sounds
in general.
OXYPHONOS, (Gk.) the person who sings the highest part.
P.
PZEAN, a song of victory sung by the ancient Greeks in honor of
the gods, but chiefly of Mars and Apollo.
PAGINA, a page or folio.
PALCO, (J.) a theatrical stage.
PALMULA, (L.) the keys of an instrument.
PANARMONION, (Gék.) a wind instrument used by the ancient
Greeks, consisting of an assemblage of pipes, resembling, in some
degree, the organ. It is particularly worthy of notice that every
hole of these pipes was capable of emitting three different sounds,
and in some circumstances more than three. seuss
PANDEAN PIPES, PAN’S PIPES, one of the most ancient and
simple of musical instruments, made of reeds of different lengths,
stopped at the bottom, and blown by the mouth at the top.
PANDORA, a stringed instrument, used by the ancients.
PANDORAN, an ancient stringed instrument resembling a lute,
the strings of which are of brass.
PANTOMIME, (Gk.) a species of musical entertainment, so called
_ because it is all mimic.
PANTING BELLOWS, an improved kind of organ bellows, which
give a regular flow of wind to the pipes.
PANTALON, (F.) one of the movements of the quadrille. Also,
the na ne of an instrument of the dulcimer species, but larger, au¢
played in the same manner.
DICTIONARY OF MUSICAL TERMS. 101
t4 RA, (Gk.) a conjunctive word, 1, signifying near; as 2 ara-mete,
near the middle chord.
PARADIAZEUXIS, (Gk.) an interval between two tetrachords
consisting of one tone.
PARAMESE, (Gé.) the second sound of the second octave.
PARANETE DIAZEUGMENON, (Gk.) the third sound of the
fourth tetrachord.
-—_—_——— HYPERBOLZON, (Gk.) the penultima of the su-
preme, or fifth tetrachord.
SYNEMMENON, (Gik.) the last sound but one of the
third tetrachord.
PARAPHONIA, (Gk.) a word which, with the ancients, was in.
some degree synonymous with harmony.
PARAPHONOI, (Gé.) certain combinations in the ancient music,
which were neither concords nor discords, but between both. The
moderns have no sounds of the kind.
PARATRIPEMATA, (Gé.) name given by the ancients to the side
apertures of their flutes.
PARADOXUS, (Gé.) the winner of a prize in the musical games
of the ancients,
PARACONTACION, alternating singing, formerly much in vogue
in the Greek church.
PARODY, or PARODIA, in music, signifying that.new words are
put to an old musical composition.
EARALLEL MOTION. When two parts continue on the same de-
gree, and only repeat the same sounds, they are said to be ir
parallel motion.
PARFAIT, (F.) perfect, with regard to intervals, &c.
PARHYPATE MESON, (Gk.) the second sound of the seccné
tetrachord.
PARLANDO, (J.) in a speaking or declamatory manner.
PARLANTE, (J.) accented, as if with words, in a declamatcry
style.
PARTE, (J.) a part in vocal or instrumental music.
——-—— CANTANTE, (J.) the singing or vocal part.
PARTIE, (F.) a part in a composition.
PARTIAL TURN, a turn consisting of the chief note and three f tre
notes, the leading gne of which may be either a large or sm all
gecond above the principal.
9*
o—-— —_—_.
102 DICTIONARY OF MUSICAL TEZ%S
PARTIMENTI, (J. Pi.) preparatory exercises for the study of Lan
mony an accompaniment.
PARTITION, (F.)
PARTITUR, (G.) a score or entire draugnt of a composition
PARTITURA, (J.) in several parts.
PARTIZIONE, (I.)
PARTHENIA, (G&.) songs sung by a chorus of virgins at a festivas
PARYPATE HYPATON, (Gék.) second note of the lowest tetra
chord of the ancients.
PAS, (F.) a dance; as, pas seul, pas de deux, a dance by one, or bg
two performers ; pas redoublé, a quick step.
PASSACAGLLO, (1)
PASSACAILLE, (F.)
PASSAGE, any phrase, or short portion of an air, or other com-
position. Every member of a strain or movement is a passage.
PASSAGGIO, (J.) a passage or series of quick notes.
PASSAMEZZO, a slow, simple dance ee
PASSEPIED, an old French dance in 2 or 2 time.
PASSING-NOTES, notes foreign to the harmany, but which serve
zs to connect those which are essential.
——_—— SHAKE, a short trill, made in flowing passages of
quavers or semiquayers, without breaking the time
or interrupting the natural course of the melody.
CHORDS, chords introduced for the purpose of form-
ing an easy transition from one chord to another.
PASSION MUSIC, the music composed in Itely and other Roman
Catholic countries expressly for Passion week.
PASSIONATAMENTE, PASSIONATE, (J.) in an impassioned
manner.
PASSIONATO, PASSIONE, con, (I.) impassiened, with pathos.
PASSIONE, (J.) the passion, or seven last words of our Savior
set to music.
PASTICCIO, (J.) an opera made up of songs by different masters
PASTORALE, (J.) a soft rural movement.
PASTOURELLE, (F.) one-of the movements of the guadrille
PASTICHE. See Pasticcio.
PAUKEN, (G. Pi.) the kettle-drums.
PAUSA, (J.) a rest.
—-—— GENERALE, (J.) a pause for all the performers
: a slow dance in = time.
DICT{ONARY OF MUSICAL TERMS. 104
PAUSE, (F.) a semibreve, or whole bar’s rest.
—~— (G.) a rest.
2 musical character, consisting of a dot surmounted by a
curve, which serves to protract the duration of a note
or rest beyond its natural length.
— GEN ERALE, (F.) a term signifying that all the perform-
ers are to pause.
PAVANE, (/.) an antiquated French dance of a serious cast.
PEALS, as a musical term, a melody composed for bells.
PECTIS, an ancient stringed instrument.
PEDALE, (Z.) a pedal or stationary bass. In piano music, this
term implies that the performer must press down the
pedal which takes off the dampers.
(G.) that set of keys belonging to an organ bes ay art
_ played on by the feet. _
NOTE, a holding note, during which the harmons
formed by the other parts of the composition is al-
lowed to proceed.
-~—_—_——— BASSE, pedal basses.
PEDAL, (J.) the pedals in piano or organ music.
PEDALIERA, (J.) the pedal keys of an organ, spoken of collec-
tively.
PENTACHORD, a scale of five diatonic degrees. ;
PENTATONON, (Gé.) an interval of five whole tones, or the aug-
mented sixth.
PER, (Z.) for, or by; as, per ii eiolind, for the violin.
-—— BISCANTUM, (Z.) an expression by which the old ecclesias-
tical musicians signified the composition and performance of music
to be in two parts.
FERCUSSIONE, (J.) percussion, or the act of striking a note or
chord.
PERDENDO, PERDENDOSI, PERDEN., abd., (7.) These terms
imply a gradual diminution, both in the quantity of tone and
speed of movement.
PERFECT, a term applied by theorists to certain intervals and
chords.
-——-——— CADENCE, a complete and satisfactory close in beth
the harmony and melody.
CONCORDS, PERFECT CONSONANCES, the per-
fect fourth, fifth, and eighth
104 DICTIONARY OF MUSICAL TERMS.
PERFECT CHORD, a chord entirely consonant.
——--—— PERIOD, a termination satisfactory and agreeal i. ta
the ear.
—— TIME, a threefold time, in which the twofold note hes
the value of three whole notes.
PERFETTO, (J.) perfect, with regard to intervals, &c.
PERFORMER, a practical vocal or instrumental musician.
PERFIDIA. This word, borrowed from the Italians, signifies az
affectation of doing always the same thing, following the same
style.
PERIELESIS, a term formerly used in church music, signifying
’. the interposition of one or more notes in the intonation, to indi-
cate the approach of the final, and apprise the choir that they
were to take up the theme.
PERIOD,
a complete musical sentence containing several
PERIODE, (1) §° CONT &*
PERIODE, (f.)
PERIODENBAU, (G.).the construction of musical periods.
PESANTE, (J.) with importance and weight, impressively.
PETITE MESURE A DEUX TEMS, (F.) 2 time.
PETIT CHGUR, (F.) a sacred composition in three parts.
PETITS PIECES, (F.) little pieces, short and easy compositions.
RIENS, light, trifling compositions.
PETTEIA, (Gk.) a name given by the ancients to the art of ascer-
taining the sounds which ought, or ought not, to be used; those
which should be introduced, and those with which the strain
should conclude. ec
PEU, (F.) a little.
PEZZE, (I. Pi.) fragments, select detached pieces of music.
PEZZI DI BRAVURA, pieces containing bold, spirited passages.
PHILCLIA, a hymn sung by the ancient Greeks in honor of
Apollo.
PHONICS, the art of treating musical sounds, raerias singly cr in
combination.
PHONASCE, (Gk.) name given by the ancients to those wha
taught the management of the voice.
PHORBEIA, (Gék.) a bandage. See Capistrum. ,
PHORMINX, (Gk.) a stringed instrument of remote antic mty,
similar to the cithera, or lyre, but of superior tone and powe
DICTIONARY OF MUSICAL TERMS. 105 >
PHOTINX, an ancient instruinent resembling a flute.
PHRASE, an incomplete musical idea, generally occupy ng twe
bars, or at most three.
MANQUEES, (F.) imperfect and unsymmetrical pas-
sages introduced by injudicious composers, by which the melody
is mgined.
PHRYGIAN, the name of one of the ancient modes.
PHTONGOS, a sound or tone.
PIACERE, a, PIACEVOLE, PIACEVOLEMENTE, PIACEVO.
LEZZA, con, (I.) agreeably, with a gay and graceful expression.
_PIANGENDO, PIANGEVOLE, PIANGEVOLMENTE, (J.) de-
spondingly, plaintively, dolefully.
PIANISSIMO, or PP., (J.) extremely soft.
PIANO, (J.) soft. This word expresses a very slight degree of in-
tensity ; the opposite of forte.
PIANO, or PIU PIANO, <I.) more soft, or very soft.
A QUEUE, (F.) a horizontal grand piano-forte.
CARRE, (F.) a square piano.
———— FORTE SCHOOL, an extensive and complete method for
the piano-forte.
SCORE, a score in which the orchestral accom-
paniments are compressed into a piano-forte part; a vocal score.
PIANOGRAPHE, a highly ingenious machine, invented by M.
Guerin, which, on being attached to the piano-forte, indicates, on
paper prepared for the purpose, any thing played by the pianist.
PIATTI, (I. Pi.) the cymbals.
PIB-CORN, name given by the Welsh to a win.’ instrument, con-
sisting of a wooden pipe with holes at the sides and a horn at
each end.
PICCIOLO, PICCOLO, (J.) small; as, flawto piccolo, a small or
octave flute.
PICHETTATO, (2)
PIQUE, (F.)
PIEDS, (F.) the feet; as, avec les pieds, with the feet, in orgs §
playing.
PIENA, (J.) full; as, & piena orehestra, for a full orchestra.
PIENO, (J.) full.
PIENAMENTE, fully.
PIELTOSAMENTE, PIETOSO, (J.) with pity, compassionately
t struck, intonated with vehemence.
106 DICTIONARY OF MUSICAL TERMS.
PIFFERO, (J.) a fife.
PIPE. The pipe was one of the first of musical instruments, it
is a tube fc rmed of a reed, or of wood or metal.
PIPER, a performer on a pipe.
PIPES OF PAN, a wind instrument consisting of a range of pip+s
bound together, side by side, and gradually perigee 2 wit2 respect
to each other, in length and diameter.
PITCH, the acuteness or gravity of any particular sounc., or "b+
tuning of any instrument.
PIPE, an instrument to ascertain the pitch of a key.
PITTORICO, embellished.
PIU, (J.) an adverb of augmentation ; as,
— FORTE, louder.
-~—— LENTO, slower.
—— MOSSO, with increased action.
—— PIANO, softer.
—- PRESTO, quicker.
—- TOSTO, (J.) rather; as,
——_———- ALLEGRO, rather quick.
PIVA, (J.) a bagpipe.
PIZZACANDO, PIZZICATO or : PIZZ,, (4.) in violin or violon.-
cello music, is applied to notes which are to be twitched with tha
finger, instead of being played with the bow.
PLACIDO, calm and quiet.
PLACIDAMENTE, (J.) with placidity, quietly.
PLAGAL, the name applied to those church modes whose melody
was .onfined within the limits of the dominant anc
its octave.
CADENCE, the triad on the key-note preceded by that
on the subdominant.
PLAIN CHANT, (f.) plain song or chant.
SONG, the old ecclesiastical chant without those har-
monic appendages with which it has since been enriched.
PLANTIVO, (J.) expressively, plaintively.
PLAQUE, (F.) truck at once, in speaking of chords.
PLASMA, (Gk.) a term of the ancients, signifying a florid and a
soft and delicate modulation of the voice.
PLAYERS ON HIGH AND LOW INSTRUMENTS, a title
assumed by the French minstrels of the fourteenth vex tury
DICTIONARY OF MUSICAL TERMS. 10%
wnen the laws of counterpoint were forming, and began to give
exerc se to bass and treble instruments in concert.
PLECIRUM, a piece of quill or ivory, used to twitch the strings
of the mandoline, &c., instead of the fingers.
PLEIN JEU, (F.) full organ,
PLICA, name formerly given to a kind of ligature used in the old
music, as a sign of hesitation or pause.
PLURITONE, any combination of musical sounds.
PLUS, (F.) more; as, plus animé, with greater animation.
PNEUMATIC, a word appropriated to wind instruments in general.
POCHETTE, (F.) a kit or small violin used by dancing masters.
POCHETTINO, POCHETTO, (Z.) a very little; more or less, as
the case may be; as, ritard un pochettino, slacken the time a little.
POCO, (Z.) 2 little.
—— ANIMATO, (Z.) a little more animated.
—— ADAGIO, a little slow.
MENO, somewhat less. -
——- PIANO, somewhat soft.
— PIU, somewhat more.
———— MOSSOQ, a little faster.
PRESTO, rather quick.
——— A POCO, (1) by degrees, gradually.
CRESCENDO, louder and louder, by degrees
DIMINUENDO, softer and softer by degrees. _
POGGIATO, (Z.) dwelt on, struck impressively.
POI, (1.) then ; as, adagio, poi allegro, slow, then quick.
POINT, (F.) a dot.
D’ORGUE, (f.) a cadenza; also, a long holding-note ir
the bass, accompanied by various harmonies.
POINTEE, (F.) dotted; as, blanche pointée, a dotted minim.
POLACCA, (J.) a Polish dance in : time, in which an emphasis is
laid on the first unaccented part of the measure.
POLIPHANT, a stringed instrument.
POLONAISE, POLONOISE, (/.) a word synonymous with ‘scm
lacca. See Polacca.
POLKA, a rather quick Bohemian dance in “ time.
FOLYCEPHALE, an air in ancient Greek music, performed py
fiates, in honor of Apollo.
1}OLYMNASTIC, an ancient instrument of the flute kind
0s DICTIONARY OF MUSICAL TERMS.
POLYMORPHOUS, of many forms; an epithet generally applied
to canons. -
POLYPHONIA, (Gk.) a combination of many sounds.
POLYPHONIC, (G&.) all compositions consisting of a plurality «f
parts, but generally confined to instrumental music, as. concertos
overtures, &e.
POLYPLECTRUM, an instrument ‘invented by Guilds. So called
from its strings being agitated by a number of quills.
POLYODIA, (Gk.) a musical composition.
POLYODIE, several parts in harmony.
POLYTHRONGOUM, an instrument of many strings.
POMPOSO, (J.) in a grand and pompous manner.
PONTICELLO, (J.) the bridge of the violin or violoncello.
PONCTUATION MUSICALE, (/.) musical punctuation or phras-
ing.
PORRECTU 8, one of the ten notes of the ancients.
PORTAMENTE DI VOCE, (J.) carrying the voice.
PORTANDO LA VOCE, (J.) sustaining the voice.
PORTAMENTO, (J.) the manner of sustaining and omc wee the
voice ; a gliding from one note to another.
EORTOR 40k Sorae ee ; to sustain the voice
PORTER LA VOIX, (F.) ;
PORT-DE-VOIX, (F.) an appoggiatura.
PORTEE, (F.) the stave on which the notes are written.
POSATO, (J.) quietly, steadily.
POSAUNE, (G.) the trombone, °
POSITION, (F.) a position, or shift, on the violin, tenor, or violon-
cello.
POSITIF, (F.) ?
POSITIV, (G.) §
POSSIBILE, (J.) possible; as, 22 pit ait possibile, as loud as pos-
sible.
POST-HORN, (G.) a sort of eae also, a movement suited te
and imitating the notes of such an instrument.
POT POURRI, (F.) a capriccio or fantasia on favorite airs.
POUR, (f.) for.
-—— LA PREMIERE FOIS, (F.) at the end of a strain, signities
that the passage over which it is placed is to be omitted in a rey
__ tition of that strain.
the choir organ.
DICTIONARY OF MUSICAL TERMS. 10%
POULE, (F.) one of the movements of the quadrille.
POUSSE, (F.) in violin or violoncello music this term is used te
indicate an up bow.
PRASCLZA, females who sang dirges over the dead.
PRALL-TRILLER, (G.) a transient shake marked thus, 4
PRATICO, (J.) practical. é
PRECENTOR, the leader of the choir.
PRECETTORE MUSICO, a teacher of music.
PRECIPITAMENTE, PRECIPITATO, PRECIPITAZIONE, con,
PRECIPITOSO, (J.) in a hurried manner.
PRECIPITE, (F.) hurried, accelerated,
PRECISIONE, (J.) with precision, exactitude.
PREGHIERA, (J.) a prayer.
REGED a short introductory and apenas extempo-
PRELUDIO, (1) raneous performance.
PRELUDIUM, (ZL.)
PREMIERE, (Ff.) first; as, premiere fois, first time.
PREPARATION, a term used by theorists to indicate that, in har-
mony, certain dissonant notes can only be employed with propriety
when they have formed an integral part of the previous chord,
and are continued on into the following chord.
PREPARED. See Preparation.
—_—_-——_—. DISCORD, that discord the discordant note of which
has been heard in a concord.
—— -———_ SHAKE, a shake preceded by ornamental notes.
PREPARAZIONE, (J.) the preparation of a dissonance.
- PRESTAMENTE, (J.) hastily, rapidly.
PRESTEZZA, con, (J.) with haste and vivacity.
PRESTISSIMO, (J.) the superlative of presto; exceedingly wHiek
PRESTO, (/.) extremely quick.
PRIMA BUFFA, (J.) the principal female performer in the Italian
comic opera.
-—_——— DONNA, (J.) the principal female eingey in the Italia
serious opera.’
-——_—— VISTA, (J.) at first sight.e
--——— VOLTA, (Z.) the first time.
PRIME CANTANTE, in an opera, the first male singer.
PRIMO, (Z.) first ; as, primo tempo, return to the original tire
--——-— BUFFO, (1) first comic male singer.
10
110 DICTIONARY OF MUSICAL TERMS.
PRIMO Mt SICO, (J.) first male singer in the serious or tragic
«pera.
TEMPO, at the point at which it is placed, renew tha
original time.
PRIMITIVE CHORD, that chord the lowest note of which is of
the same literal denomination as the fundamental bass of the har-
mony.
PRINCIPAL, one of the most important stops in an organ. It is
generally made of metal, runs throughout the whole compass of
the key-board, and is tuned an octave above the diapasons.
PRINCIPALE, (J.) principal; as, violino principale, the principal
violin.
PRINCIPALMENTE, (1.) principally.
PRINCIPIANTE, (J.) a beginner. -
PROBE, (G.)
PROVA, (J) f a rehearsal.
PROCELLA, a composition descriptive of a thunder storm.
PRODUCENTE, (J.) fifth tone of the scale. !
PROFESSORE DI MUSICA, one who makes music his chief
business.
PROGRAMMA, symphonies which form descriptive music.
PROGRESSIVE NOTES, those notes which succeed each other
by those degrees the settled order of which constitutes the key of
the composition, or the passage in which they occur.
PROHIBITO, forbidden, or not proper or according to just rule.
PROLATION, a method used in the old music of determining the
power of semibreves and minims.
PROLONGED SHAKE, a shake which can be opened or ways at
_ pleasure.
PRONTO, readily, quick, without loss of time.
PRONUNZIARE, (Z.) to pronounce.
PROPE, near. .
PROPOSTA, (Z.) the sityjent of a fugue.
PROPORTION, the ratio which two terms bear to each other upon
comparison. m
PROS, certain hymns used in the Romish church, consisting of
rhyme without measure.
PROSCCRDA, (Gék.) an instrumental accompaniment to ancienf
vocal music.
nx
DICTIONARY OF MUSICAL TERMS. 11}
PROS] AMBANOMENOS, (Gé.) the name given to the lowes
note n the Greek system, equivalent to our A.
PROSODIA, (Gék.) a sacred song or hymn, sung by the ancients in
honor of their gods.
PROSODIAC, (Gk.) a Grecian air in honor of Mars.
PROSODY, the name of a a melody sung by the Greeks at the en-
trance of sacrifices.
PROTESIS, a certain pause in ancient Greek music.
PROTRACTED MODULATION, that modulation which, tefors
passing to its natural harmony, moves to an intermediate one.
PROTOPSALTES, the name of one of the principal singers in the
patriarchal church of Constantinople.
PSALM, a sacred song.
PSALMODY ISLAND, an island in France, which had its name
from a monastery founded there about the end of the fourteenth
century, the constitution of which enjoined the preserving of a
perpetual psalmody. See Laus Perennis.
PSALTERY, a ten-stringed instrument of the Hebrews.
PSALTRLZ#, females who sang at public feasts and Dentin;
PSAUME, (F.) psalm, a sacred song.
PUNKT, (G.) a dot.
PULSATILE, a term applied to such instruments as are made to
sound by being struck upon, as a drum, a tambourine, &c.
PUNKTIRTE NOTEN, (G.) dotted notes.
PUNTA, (J.) the point; as, colla punta dell’ arco, with the point or
tip of the bow.
PUNTATO, (Z.) pointed, detached.
PUNTO, (J.) dot or point.
PER PUNTO, (Z.) note for note.
PUPITRE, (fF.) a music desk.
PYKNOS, (Gék.) two of the genera of music, the chromatic. and
“enharmonic.
PYRRHICS, ancient military dances in which the dancers were
armed ; also, a succession of two short notes.
Q.
QUADRICINIUM, a composition in four parts.
QUADRILLE, (F.) a French dancs, or, rather, a set of five conseo
*
112 DICTIONARY OF MUSICAL TERMS.
utit e dance movements, called le pantalon, la poule, Uete, la tresise
ou 12 pastourelle, la finale.
QUADRUPLE, fourfold.
COUNTERPOINT, counterpoint in four parts, al
5 of which are invertible.
——_——_—-——. CROCHE, (F.) a cenilcon\encidaiiin:
QUADRIVUM, the general name, in the ninth and tenth centuries
for the four sciences, music, arithmetic, geometry, and astronomy.
QUANTITY. This word, when applied to music, does not signify
the number of the notes, but their relative duration. It is from
the quantity as much as from the position of the notes that the
beauty and expression of every melody proceed. ,
— QUARTA, (ZL) om
peciges el tg tthe interval of a fourth.
QUARTA TONI, (/.) the subdominant, or fourth note bgsd
QUARTE DU TON, (F.) ; the scale,
QUARTER NOTE, a crotchet, 6 ,
QUART DE TON, (F.) Sei ot Sada Sea a
QUARTER TONE, ematical theory of music, is found
- QUARTO DI TUONO, (1) ) OR Dees Oe aa BP
G# and Ab, &.
QUART-DE-SOUPIR, (FY “ F
QUARTO D’ASPETTO, (1) ; a semiquaver rest.
QUARTET,
QUARTETTO, (7)
QUARTO, the fourth, the quarter note.
QUASI, (7) in the manner or style of; as, quasi allegretio, like a
allegretto.
—- ANDANTE, in the andante style.
—- PRESTO, rather fast.
QUATTRO, a piece for four hands or voices.
QUATUOR, (F.) four; same as quartet.
_ QUATRICOMA, a demisemiquaver.
QUART DE SON, (F.) a quarter tone.
QUAVER, a note equal in relative duration to one half of a crotc® 4,
or one quarter of a minim in the same movement.
——-—— REST, an eighth rest.
QUERIMONIA, (L.) spiritual lamentation.
QUEERSTRICHE, (G.) ledger lines.
: a composition for four voices or instrument
DICTIONARY OF MUSICAL TERMS. 113
QUESTO, (J.) this, or that.
QUEUE, (F.) the tailpiece of a violin, violoncello, tenor, &c. the
tail or stem used to indicate the duration of a note. —
QUICKSTEP, a lively, spirited march, generally in ? time.
QUIETO, (J.) with calmness or repose, quietly.
QUILISMA, name of one of the ten notes used in the middle ages
QUINTA, QUINTE, QUINTO, the interval of a fifth.
QUINTET,
QUINTETTO, (Z2.) a composition for five voices or instruments.
QUINTOR, (F.)
QUINTOIER, (F.) a term applied by the old French writers ox
music to a species of descant chiefly consisting of fifths.
QUINTADECIMA, (J.) fifteenth.
QUINQUE, (L.) five.
QUI TOLLIS, (L.) a movement of the Gloria.
QUODLIBET, a term sometimes applied to a certain species of
composition written in a comic style.
QUONIAM TU SOLUS, (Z.) part of the Gloria.
R.
R., or R. H., indicates the right hand in piano-forte music.
RABBIA, (J.) with rage, furiously.
RADDOLCENDO, RADDOLCENTE, (Z.) with vipleias soft-
ness.
RADDOPIATO, doubled, or compounded.
Pousauann uh” the doubling of an interval.
RADICAL BASS, the fundamental bass.
RAGGIONE, ratio, proportion.
RALLENTANDO, (J.) implies a gradual diminution in the speed
of the movement, and a corresponding decrease in the quantity
of tone.
RANZ DES VACHES, (F.) airs played upon their pipes by the
Swiss herdsmen, to assemble their herds and kevp them together
on their return home.
RAPIDAMENTE, RAPIDITA, con, RAPIDO, ‘f.) rapidly, v th
rapidity.
RAPPEL, (F.) in imitation of a bird.
10 *
114 DICTIONARY OF MUSICAL TERMS.
RATTENENDO, (J.) restraining or holding back the time.
RAVVIVANDO, (J.) reviving, reanimating, accelerating, 4s, ren
vivando il tempo, animating or quickening the time.
RE, a syllable applied, in solfaing, to the note D.
REALE. A quatro voce reale, in four, or for four parts, vocal or in-
strumental.
REBEC, a Moorish instrument with two strings, to which the
Spaniards added a third.
RECHEAT, the name by which huntsmen designate those sounds
which are played on the horn to recall the hounds from a fala
scent.
RECHT, (G.) right} as, rechte hand, the right hand.
RECITANDO, (Z.) in the style of recitation ; Selene?
RECITANTE, (Z.) in the style of a recitative.
RECITATIPF, (F.)
RECITARE,
RECITATIVE, a species of musical recitation. It was first intro-
duced in the year 1660, at Rome. Z
RECITATIVO, (Z.) a recitative or musical declamation. }, bh “l ;
——_——_——— PARLANTE, in a speaking manner.
SECCO, (J.) unaccompanied recitative.
STROMENTATO, (7) recitative accompanied by
. a recitative.
the orchestra.
RECLAME, (F.) a vocal Leadptiaanes resembling a bird’s song.
RECLAMER, (F.) one who sings a reclame.
RECORDER, an old wind instrument somewhat resembling a
flute, but of smaller bore and shriller tone.
RECTE, (L.) forwards.
RECTOR CHORI, (L.) the leader of a choir.
REDITTA, (J.) a term denoting that the strain or passage over
which it is written is to be repeated.
REDOUBLED, an epithet applied to any simple interval carried
into its octave; as, the thirteenth, composed of a sixth and oc-
tave, is a’ redoubled sixth; and the fifteenth, containing twe
octaves, is a redoubled octave. /
REEDS, thin pieces of wood which form the mouthpiece of the
hautboy, clarinet, and bassoon.
REEL, a sprightly Scotch dance, the accompanying tune of which
is in common time.
PICTIONARY OF MUSICAL TERMS. 115
REFRAIN, (f.) an oid term for the burden of a song.
REGINA CQ&LI, (Z.) a hymn to the Virgin.
REGISTER, the compass of a voice or instrument; also, an organ
stop of any species.
REGLE, (F.)
REGOLA, (1.)
REGLE DE L’OCTAVE, (F.) the rule of the octave, showing the
manner of harmonizing the scale taken as a bass.
REGULAR MOTION, similar motion.
REHEARSAL, a preparatory performance.
RELATION, that connection which any two sounds have with ons
another in respect of the interval which they form.
RELATIVE, those chords, modes, or keys, which, by reason of
affinity and identity of some of their component
parts, admit of an easy and natural transition from
one to the other.
KEYS, those keys which only differ by having in
their scales one flat or sharp more or less, or which have the very
same signatures.
RELIGIOSAMENTE, RELIGIOSO, (/.) inasolemn style.
REMISSIO, the act of the voice when it descends from a high not2
to alow one; the reverse of inéentio.
RENVERSEMENT, (F.) an inversion.
RENVOI, (F.) a mark of repetition.
REPETITION, (F.) a rehearsal.
REPETIZIONE, (J.) repetition; as, senza repetizione, without rep
etition.
REPETATUR, let it be repeated.
REPLICA, (J.) repetition ; as, senza replica, without repeating ; con
replica, with repetition.
REPERCUSSION, a frequent repetition of oe same sound.
REPLICATO, (J.) repeated.
REPONSE, (F.) the answer of a fugue.
REPRISE, (F.) a repetition or return to some preceding part.
———_——- D’UN OPERA, (F.) the representation of an opera
which has not been given for some time.
REQUIEM, (Z.) a musical service for the dead.
RESOLUTION, the concord which necessarily follows a preceding
liscord is called its resolution.
f a rule or precept for composition or performance.
116 DICTIONARY OF MUSICAL TERMS
RESOLUZIONE, (J.) resolution.
RESOLVED, the result of resolution.
RESONANCE, a prolongation or reflection of any sound.
RESPONSAY, in church music, an anthem of mae kind, in whick
the choir and the people sing by turns. f
RESPIRO, (J.) a semiquaver rest.
RESTS, the characters which indicate silence in music.
RETARDATION, the continuation of one or more notes of a chord
into the following chord.
_ RETRO, (L.) backward; the reverse of recte.
RETROGRADO, (J.) in retrograde movement.
RETTO, (J.) direct; as, moto retto, direct or similar motion
RHAPSODIE, (F.) a rhapsody, a capriccio.
RHAPSODISTS, or RHAPSODI, (G&.) persons among the an-
cients whose profession it was to sing or recite the verses of
Homer, and other celebrated poets.
RHYTHM, the theory of musical cadence, as applied to melody.
RHYTHMICS, rhythmical forms and delineations.
RHYTHMICAL, relating to rhythm.
RHYTHMICA, a branch of ancient music which regulated the
rhythm.
RHYTHMOPQCIA, one of the ancient musical faculties, as they
were called, which prescribed rules for rhythm.
RICERCARI, (J. Pi.) difficult exercises for the voice or for some
instrument.
RICERCATA, (J.) a fugue replete with -ontrapuntal artifices.
RICORDANZA, (J.) with recollection, remembrance.
RIDOTTO, (J.) adapted, arranged; also, an igre gaered consist-
ing of singing and dancing.
RIDURE. See Ridotto.
RIFFIORIMENTI, (J. Pi.) extemporaneous embellishments
RIFLETTANDO, a reflective air to be assumed.
RIGADOON, an antiquated French dance in triple time.
RIGORE, in the most exact time.
RIGOLS, an old instrument consisting of several sticks by the side
of each other, but separated by beads.
RINFORZANDO, RINFORZATO, RINFORZO, RINF. or RF
abb., (I.) with additional tone and emphasis.
RIPIENO, (J.) a term applied to such parts, in concerted music as
DICTIONARY OF MUSICAL TERMS. 117
are intended to fill up and augment the effect of the ¢uéti, or fall
chorus of voices or instruments.
RIPOSTA, repeat.
RIPRESA, (J.) a mark of repetition.
RISOLUMENTE, RISOLUTO, RISOLUZIONE, con, (I.) in a
bold, decided style.
RISOLUTISSIMO, (J.) with extreme resolution.
RISOLUZIONE, (J) the resolution of a discord.
RISPOSTA, (J.) the answer of a fugue.
RISVEGLIATO, (J.) with much animation.
RISVEGLIARE, (J.) to reanimate the execution.
RITARDANDO, RITARDATO, (I.) implies a gradual retarding or
slackening of the time, with a corresponding diminution: i in point
of tone*
RITARDO, (J.) a retardation.
RITENENDO, (J.) holding back in the time.
RITENENTE, RITENUTO, (Z.) slackening the time. The effect
differs from the ritardando by being done at oie while the other
1s effected by degrees.
RITORNELLO, (J.) a short symphony or introduction to an air,
as also the symphonies between the members or periods of the
air. The same term is applied also to the tutti parts, introductory
to, and between the solos of a concerto.
RIVOLGIMENTO, (J.) the inversion of the pet in double coun-
terpoint.
RIVERSA, the opposite.
RIVESCIO, the reverse.
RIVOLTATO, (J.) inverted.
RIVOLTO, (J.) an inversion.
ROHR, (G.) a reed.
ROHRWERK, (G.) reed-work, the reed stops taken collectively.
ROLLO, (1.)
ROLLANDO, (1) bs roll on the drum and tambourine.
ROULEMENT, (F.)
ROMANCE, (/.) 2 a short lyric tale, set to music, or a simple and
ROMANZA, (1) f elegant melody suitable to such words,
ROMANESQUE, (F.) a dance tune, called also galliard.
ROMISCHE GESANG, (G.) the plain chant of the Catholi sere
vice.
-
118 DICTIONARY OF MUSICAL TERMS.
RONDE, F.) asemibreve.
. )a composition of several strains or members,
pales ie. at the end of each of which the first part
5 GE) eee
or subject is repeated.
RONDILETTA, RONDINETTO, RONDINO, RONDOLETTG,
(Z.) a short rondo.
ROOT, the fundamental note of any chord.
ROSALIA, (J.) the repetition of a passage several times over, each
time ascending one degree.
ROTE, the old name of the hurdy-gurdy.
ROTONDO, (J.) round or full, as regards tone.
ROULADE, (F.) a division or rapid flight of notes.
ROULEMENS, (F.) a term applied to all kinds of rapid passages.
ROUND, a sort of canon in the unison.
ROUNDELAY, a sort of antique poem, in various parts of which a
return is made to the first verse or couplet ; a poetical rondo.
ROVESCIO, (J.) inverted, reverted.
RUBATO, (1) robbed, borrowed. The terms tempo rubato are ap-
plied to a style of performance in which some notes are held
longer than their legitimate time, while others are curtailed of
their proportionate duration, in order that, on the whole, the
aggregate value of the bar may not be disturbed.
RUCKUNG, (G.) syncopation.
RUHEPUNCT (G.) a point of repose nm meloay, a cadence.
RUSSE, (F.) Passian; as, d la Russe, in the Russian style
s.
SACKBUT, an old-fashioned instrument, resembling a trombone. _
SACRIST, a person employed in a cathedral to copy music and
have charge of the books.
SAGGIO, (2) an essay.
SAITE, (G.) a string of a musical instrument.
SAITENHALTER, (G.) the tailpiece of a violin, tenor, &c.
=ALII, (L.) the name given by the Romans to the young men,
twelve in number, who were appointed to sing hymns in praise of
- the god of war.
&AT.MO, (J.) a psalm or psalm tune.
BAI MODIA, (J.) psalmody.
DICTIONARY OF MUSICAL TERMS. 119
SALTANUDO, (J.) proceeding by skips or bounds.
SALTERELLA. See Sartarella.
SALTERIO, SALTERO, (J.) a Psalter or book of psalms.
SALTO, (J.) a skip.
SALVE REGINA, (L.) a hymn addressed to the Virgin.
SAMBUCA, (Gé.) an ancient stringed instrument.
SAMBUCUS, (Gék.) an ancient wind instrument.
SAMPUNIA, a pneumatic instrument used by the ancient Hebrewa
resembling the modern bagpipe.
SANCTUS, (Z.) a part of the mass in the Catholic service.
SANFT, (G.) soft; as, mit sanften stimmen, with.soft stops, in
organ music.
SANGER, (G.) a singer.
SANS, (F:) without; as, sans pedales, without the pedals, in organ
playing.
SARABANDA, (1)
SARABANDE, (F.)
SARTARELLA, SARTARELLO, (J.) a Neapolitan dance.
SATTEL, (G.) the nut of a violin finger-board, &c.
SBARRA DOPPIA, (J.) a double bar.
SCALA, (J.) a scale or gamut.
————-— CHROMATIC, the chromatic scale.
SCALD, among the northern nations, implies a bard or shan my%.-
sician.
SBCANELLO, SCAGNELLO, SCANNETTO, (J.) name given by
the Italians to the bridge of a violin, violoncello, &c.
SCAVEZZA, (1.) divisions within the compass of the sixth. -
SCENA, (J.) ascene or portion of an opera. <An act is generally
composed of several scenes.
DA CAMERA, (J.) a term applied by the Italians to all
vocal compositions not designed for the church or theatre.
SCHEME, a term used in ancient music to express the varieties
arising from the different=positions of tones and semitones in a
consonance.
SCHERZATO, light and playful.
SCHERZANDO, SCHERZANTE, SCHERZO, SCHERZEVOL-
MENTE, SCHERZOSAMENTE, SCHERZOSO, SCHERZ,
avd., (I.) in a light, playful, and sportive manner.
BCHERZANDISSIMO, (J.) in an exceedingly playful style.
3 a saraband, an antique slow dance tune.
120 DICTIONARY OF MUSICAL TERMS.
SCHISMA, in ancient music, a small interval equal to the half of a
comma, or the eighteenth part of a tone.
SCHCENION, (Gé.) a scientific air composed for flutes.
Pen CEST: (G.) the name given to a rather slow modern
dance in s time.
SCHLEIFEZEICHEN, (G.) aslur. -
SCHUSTERFLECK, (G.) synonymous with Rosalia. See that ica:
SCHLUSSEL, (G.) the clef.
SCHNARRPFEIFEN, (G.) reed work, reed stops.
SCHNELL WALZER, (G.) quick waltzes.
SCHREIBART, (G.) style.
SCHULE, (G.) a school or method for learning any instrument, &e.
-SCHWACH, (G.) piano, or soft.
SCHWEIGE, (G.) a rest.
SCIALUMO, (F.) in clarinet music, signifying that the notes are te
be played an octave lower than written. ~ -
SCIOLTAMENTE, (J.) with freedom and agility.
SCIOLTO, (J.) wi.h freedom and snirgirgnep
SCOLARO, (J.) a scholar.
SCOLIA, (Gk.) name given by the ancients to songs in er bul
more especially to those of a festive kind.
SCOLIUM, (Gé.) a festive song.
SCORDATO, out of tune.
SCORE, a complete and orderly assemblage, in one view, of the
parts of a vocal or instrumental composition.
SCORING, the forming of a score, by collecting and properly ar-
ranging the detached parts of a composition.
SCOTCH SCALE, a scale differing from that of the other nations
of Europe by its omission of the fourth and seventh ; a peculiar-
ity from which all the genuine Scottish melodies derive their na-
tional and distinguished character.
SCOZZESE, alla, (I.) in the style of Scotch music.
SDEGNO, con, SDEGNOZAMENTE, SDEGNOZO, (I) in a
fiery and indignant style. :
SDRUCCIOLARE, (J.) the gliding of the nails up and down tne
keys of the piano-forte.
SDRUCCIOLATO, (J.) sliding the nail of the first finger over the
keys, as in the one-fingered waltz of Mozart.
SEC, (F.)
SECCO, (I) in a dry or ynornamented. manner
DICTIONARY OF MUSICAL TERMS. 12
SECHZENTHEIL NOTE, (G.) a semiquaver.
SECONDE, (F.) second; as, seconde fois, second time.
SECONDA, SECONDO, (J.) the second.
SECULAR MUSIC, all music not designed for religious purposes.
SECULARS, unordained officiates of any cathedral or chapel,
whose functions are confined to the vocal department of the choir.
SECUNDE, (G.) the interval of a second.
SEGNO, or g. (1.) a sign; as, al segno, return to the sign; dad
segno, repeat from the sign.- ,
SEGUENDO, SEGUENTE, (J.) following.
SEGUE, SEGUITO, (J.) now follows, or as follows. Examples ;
segue tl coro, the chorus follows; segue la finale, the finale now fol-
lows. It is also used in the sense of in similar, or like manner,
to show that a subsequent passage is to be played like that which
precedes it,
SEGUIDILLA, a favorite Spanish dance in simple triple time.
SEI, six.
SEITENBEWEGUNG, (G.) oblique motion.
SEIZIEME DE SOUPIR, (F.) a semidemisemiquaver rest.
SEMI, (Z.) half; as, semitone, half a tone, &c.
SEMIBREVE, a long note equal to two minims or four crotchets, &e.
SEMICON, an ancient instrument of thirty-five strings.
SEMICHORUS, a chorus to be sung by only a portion of the
voices.
SEMICHROMA, (J.) a semiquaver.
SEMIDEMISEMIQUAVER, a quadruple quaver, or a note having
four tails, equal in duration to one half of ademisemiquaver. .
SEMIDIAPENTE, (L.) the diminished or imperfect fifth. 5
SEMIDIAPASON, an octave diminished by a minor semitone.
SEMIDIATESSERON, a false fifth.
SEMIDITONH, (Z.) the minor third.
SEMIFUSA, (Z.) the ancient name for a semiquaver.
SEMIMINIMA, (Z.) a crotchet.
SEMITONE, a half tone.
SEMITONICS, intervals consisting of half tones.
SEMITONIUM MODI, (ZL.) the leading note.
SEMITUONO, (J.) a semitone.
BSEMPLICE, SEMPLICEMENTE, SEMPLICITA, con, (J.) with
simplicity, artlessly.
11 bad
12 _DICTIOD AKY OF MUSICAL TERMS.
SEMPRE, (J.) always; sempre staccato, always staccato or d@&
tached; sempre forte, always loud; sempre pit forte,
continually increasing in force.
—w——— CON FORZA, perform loud throughout.
SENSIBILE, SENSIBILITA, con, (J-) with sensibility and feeling,
SENSIBLE, (F.) the leading note or major seventh of the scale.
SENTIMENTALE, SENTIMENTO, con, (J.) with feeling and
sentiment. -
SENZA, (J.) without; as, senza_organo, without the organ; senze
replica, without repetition.
RIGORE, (J.) not in strict time; in some degree ad lib
itum.
SEPTETTO, (J.) a septet, or piece for seven instruments.
_ SEPTENARY, a scale in which the eighth tone is omitted.
SEPTET, SEPTUOR, a composition for seven voices or instro
ments,
SePrilte Ps 7 ‘ the interval of a seventh.
SEQUENCE, a succession of similar chords or intervals.
SEQUENTIA, (Z.) hymns used in the Romish church, so called
because, though in their composition rhyme is adhered to, the
laws of measure and quantity are neglected. Of this kina is the
Stabat Mater.
SEGUENZA, (J.) a sequence of similar intervals or chords.
SESQUALTRA, SESQUIALTRA, an organ stop, of a shrill, noisy
quality of tone, consisting of several ranks of pipes tuned in
thirds, fifths, or octaves.
SERBANO, (J.) the serpent, a bass wind instrument, Maxie! 3 ix
that form.
SERENADE, a concert performed at night, under the windows of
the person to be entertained.
SERENATA, (J.) a vocal composition on an amorous subject.
SERIA, (J.) serious; as, opera seria, a serious or tragic opera.”
SERIOSO, (J.) in a grave and serious style.
SERPEGGIANDO, (Z.) sliding, creeping gently onwards.
SERPENT, a military wind instrument, of a deep pitch and of
coarse quality of tone.
SERPENTONO, (J.) serpent.
SERVICE, certain portions of the Protestant ritual when set &
music. ‘
DICTIONARY OF MUSICAL TERMS. 123
SERVI SYMPHONIACI, (Z.) among the Romans, a band of mu-
sicians kept by a person of rank, for the amusement of himse-f or
guests. :
SESQUI, a Latin particle signifying a whole and a half.
SESQUITERTIA, a musical ratio, when it is as four to three.
SESQUITONE, a minor third, or an interval consisting of tliree
semitones.
SESQUIALTERA, an organ stop composed of several ranks of
pipes.
SESTA, (J.) a sixth.
coil (Z) 2 a vocal or instrumental Ne agRI AE in six parts,
SETTIMA, (I.) a seventh.
SETZART, (G.) style of composition.
SETZKUNST, (G.) the art of musical composition.
SEVENTH, an interval formed of seven sounds,
SEVERAMENTE, SEVERITA, con, (J.) in astrict and severe sty-e.
SEXTA PARS, (Z.) four parts, being the number to which church
compositions were limited during the fifteenth century.
SEXTE, (G.) the interval of a sixth.
SEXTUOR, a composition for six voices or instruments.
SEXTUPLE, name formerly given to what is now called compound
common time.
SFORZANDO, SFORZATO, (J.) implies that a particular note ie
to be played with emphasis and force.
SFUGGITO, (J.) avoided , as, cadenza sfuggtta, en avoided (i. e., a
broken) cadence.
SHAKE, an embellishment consisting of the alternate reiteration
of two notes comprehending an interval not greater than one
whole tone, nor less than a semitone.
SHARP, a character, the power of which is to raise the note before
which it is placed half a tone.
SHAWM, a wind instrument of the ancient Hebrews,
SHIFT, a change of the position of the hand along the finger-board
of a violin, violoncello, &c., necessary to the execution.
BHORT OCTAVES, an appellation given to some of ‘he lower oc-
taves of an organ, because, from the omission of some of the
intermediate notes, the extreme keys lie nearer to each other than
those of the full octaves,
124 DICTIONARY OF MUSICAL TERMS.
SHRILL, an epithet applied to those acute sounds whick form the
upper part of the scale of soprano voices and treble instr aments.
§I, a syllable applied, in solfaing, to the note B.
SICILIANA, (J.) a movement of a slow, soothing, pastoral charace
ter, in § time, resembling the dance peculiar to the peasantry of
Sicily.
SIEGUE, SIEQUE, (J.) it follows; as, stegue it menuetto, the men-
uetto follows. When applied to a particular passage, it signifies
that though it does not continue to be made out in the same form
of notes in which it commenced, yet the same style of execution
is to be preserved.
SIGNATURE, (F.) the signature, or name given to the aggregate
of sharps or flats necessary to each key, and placed at the begin-
. ning of each stave.
SIGNE, (F.) the :§;, or direct.
SILENCE, (F.) a rest.
SIMI-CUM, (Gé.) an ancient instrument having thirty-five strings.
SIMILAR MOTION, that in which two or more parts always
ascend or descend at the same time.
SIMILE, (J.) similarly, in like manner.
SIMPLE, a term applied to that counterpoint in which note is set
against note, and which is called simple, in opposition
to more elaborate composition, known as figurative
counterpoint.
——— INTERVALS, such as do not exceed an octave.
SOUND, a pure, unmixed, single sound.
TIMES, those measures which contain but one prine‘pal
accent; as, oy 3, . &e.
SINCOPA. See Syncope.
SINFONIA, (J.) 2 a symphony or orchestral composition in many
SINFONIE, (G.) , parts.
SINGHIOZZANDO, (I.) sobbingly.
SINGLE CHANT, a simple harmonized melody extending only te
one verse of a psalm as sung in cathedrals, &c.
SINGSCHULE, (G.) a singing school.
BSINGSTIMMEN, (G. Pl.) the voices, the vocs1 parts.
BINISTRA, SINISTRA, (Z.) the left hand. By this name he
Ronans distinguished their left-handed fir .es; those made ‘ot
the right hand were called deatre.
ay ilies ay 2 ot Oa das na
PEARS Ope Nie
DICTIONARY OF MUSICAL TERMS. 123
SINO, x SIN’, (2) as far as; as, con fuoco sin’ al fine, with spirit
to the end.
— AL FINE, to the conclusion.
SI PIACE, perform as you choose, or omit if you think best.
— RADOPPIA IL TEMPO, time or movement to be increased
one half.
— REPLICA, (J.) repeat.
— TACE, (1) be silent.
SIGUES DES SILENCES, (F.) signs of rest.
SISTRUM, an ancient Egyptian instrument of percussion.
SIXTE, (F.) a sixth. e
SIXTEENTH NOTE, a semiquaver,
SIX POUR QUATRE, (F.) six notes meant to be played in the
time of four, a sextuplet.
SIXTH, an interval comprising six degrees.
SKIPPING NOTES, notes which do not proceed by conjoint de-
grees, nor in any regular course, but lie at awkward and unex-
pected distances from each other.
SLEGATO, to separate or disconnect. ;
SLENTANDO, (J.) a gradual diminution in ite time or speed-of
the movement.
SLUR, a curved line drawn over two or more notes to indicate that
they must be smoothly connected.
- SLURRING, performing in a smooth, gliding style.
SLIDE, two notes gradually rising or falling towards the principa.
note.
SMANICARE, (I.) to change the position of the hand on such in
struments as the violin, guitar, &c.
SMANICANDO, the neck of an instrument.
SMANIOSO, (J.) with fury.
SMINUENDO, (J.) gradually diminishing the sound.
SMORFIOSO, (J.) in an affected manner.
SMORZANDO, SMORZATO, (ZL) Goreng the sound, dying
away by degrees. \
SOAVE, (1.) softly, sweetly.
SOAVAMENTE, (J.) with great sweetness.
SOECK-PIPH, name given by the ancient northern poets to the
bagpipe.
SOGGETTO, \Z.) a subject or theme
11*
126 DICTIONARY OF MUSICAL TERMS.
SOL, a monosyllable appiied by the Italians to G, the fifth sound
of the diatonic scale or octave of C.
SOLENNEMENTE, (J.) solemnly.
SOLENNITA, (J.) with solemnity.
SOLFA, SOLFAING, the practice of solfeggi by means of th?
syllables Do, Re, Mi, Fa, Sol, La, Si, corresponding to the notes
C, D, E, F, G, A, B.
SOLFEGE, (F.)
“SOLFEGGI, (i. Pi.) exercises for the voice.
SOLFEGGIO, (J.)
SOLFEGGIARE, SOLMIZARE, extemporaneous, to sing witLout
text.
SOLFEGGIAMENTI, (J.) compositions intended as exercises for
singing at sight.
SOLI, (J. Pi.) implies that two or more principal parts play or siag
‘ together; such parts, of course, are never doubled.
SOLITO, in the usual manner.
SOLLECITO, (J.) in an ardent, solicitous, and pensive style.
SOLMIZATION, the same as solfaing.
a la Grec, a species of solmization formerly prac-
tised, in which a strict adherence to the Greek system of tetra-
chords was observed.
SOLO, SOLA, (J.) alone; a composition, or even a passage for a
single voice or instrument, with or without accompaniments.
a composition consisting of several movements,
sips pia Ss ; Sociale for a single riocival instrument, with
SONATE, (F.) ‘ :
or without accompaniments.
SONATA DA CAMERA, a sonata designed for the chamber or
parlor.
CHIESA, a sonata for church.
DI BRAVURA, a brave, bold style of sonata.
SONATINA, (7) 2.
SONATINE, (F,) ; a short and easy sonata.
SONNET, a short poem of only fourteen lines.
SONETTO, sonnet.
SONG, ashort lyric poem set to music. The ancients had the art
of singing before they had that of writing, and their laws, as well
as their histories, were sung long before they were inscribed.
SONI MOBILES, name by which the ancients pang hed the
intermediary sounds of their tetrachords.
a ep
DICTIONARY OF MUSICAL TERMS. 127
® \NI STAB LES, or SONI STANTES, the extremes of the Greek
tetrachords,
co NTE Ce) Sipe with a full, vibrating kind
SONORITA, con, (I.) pbs,
SONORITE, (F.)
poo a om : sonoreus, full toned.
SONOROUS, an epithet applied to whatever is capable ot yielding
sounds. ;
SONS, (F.) the name of the airs and lyric poems of the Provengal
minstrels.
—— ETOUFFES, (F.) soft tones produced on the harp by chuck-
ing the vibration of the strings.
—— HARMONIQUES, (Ff. Pi.) harmonic sounds or notes.
—— PLEILNS, (Ff. Pi.) terms which often oceur in flute music,
and which indicate that the notes must be blown with a very full,
round tone. ;
SOPRA, (J.) above; as, come sopra, as above; contrapunto sopra u
soggetto, counterpoint above the subject. -
SOPRANO, (J.) the highest species of female voice.
SOPRANI, plural of soprano. ‘
SORDAMENTE, (1) damped, muffled.
SORDINI, (Z. Pi.) mutes; as, con sordint, with mutes, senza sordins,
without mutes, on the violin, tenor, &c.
SORDINO, (J.) a mute or damper applied to the bridge of the
violin, tenor, &c.
SOSPIRANDO, (Z.) with apprehension, despondingly.
SOSPENSIONE, (J.) a suspension.
SOSPIRO, (Z.) a crotchet rest. ;
SOSTENUTO, or SOST., (J.) sustained, continuous in regard te
tone.
SOSTENENDO, (Z.) an even degree of tone throughout.
SOTTO, (J.) under; as, sotto él soggetto, under the subject.
VOCE, (J.) in a soft or subdued manner, in an under tone,
SOUDELINE, (F.) a kind of musette or bagpipe.
SOUPIR, (f.) a crotchet rest.
SOUSDOMINANTE, (F.) the subdominant or fourth of the scale
SOUSMEDIANTE, (F.) the submediant or sixth of the scale.
BOUSTONIQUE, (/.) the seventh of the scale or subtonic.
128 ' DICTIONARY OF MUSICAL TERMS.
SOUVEN'RS, (F. Pi.) recollections, reminiscences, keepsakes.
SPACES, the intervals between the lines of the staff.
SPAGNU DLA, (Z.) the guitar.
SPALLA, the shoulder.
SPATIUM, the space.
SPAZIO, (1.) a space of the stave.
SPECIES, in ancient music, the subdivision of the genera.
SPIANATA, (J. adjective,) smooth; as, voce spianata, an ever and
sustained voice; drawn out, as when several notes are given te
each syllable.
SPICCATO, (I.) This word indicates that every note must be
played im a very distinct and detached manner.
SPIELEN, (G.) to play upon an instrument.
SPINET, SPINETTA, an old keyed instrument.
SPIRITO, con, SPIRITOSAMENTE, SPIRITOSO, (J.) with spirit,
animation.
SPIRITUALE, (J.) sacred.
SPISSUS, thick, full, as of small or minute parts, as of intervals.
SPONDAULA, (Gé.) name given by the ancients to a performer
on the fiute.
SPONDEE, a musical foot ponaietinge of two long ‘usb
SPONDEASMUS, the enharmonic genus when raised three dieses.
SPONDIASM, (Gé.) an alteration in the harmonic genus, by which
a chord was elevated three dieses above its ordinary pitch.
Lu iggke : as it stands.
STABAT MATER, (L.) a hymn on the crucifixion.
STACCATISSIMO, (JZ.) very detached.
STACCATO, (Z.) This term implies that the notes are to be
played distinct, short, and detached from one another by restr,
STAFF, or STAVE, lines on which notes-are written.
STANGHETTA, (J.) a bar line.
STARK, (G.) forte, loud; as, mit starken stimmen, with loud stops,
in organ playing.
STEG, (G.) the bridge of a violin, violoncello, &e.
STEM, the thin stroke which is drawn from the head of a note.
STENTATO, (J.) in a loud, bawling manner, for some particulss
effec t.
ELENFANDO, protracting, delaying.
ee ae eee See ee we ane
hepet
DICT'TONARY OF MUSICAL TERMS. 1%£3
BTENTOROPHONIC TUBE, a speaking trumpet, so called from
Stentor, the herald mentioned by Homer, who, as that author
says, could call louder than fifty men. The Stentorophonic horn
of Alexander the Great is said to have enabled him to give orders
to his army at a distance of above twenty English gry
STESSO, (Z.) the same.
STHEN OUHIRE, a machine for strengthening and imparting flexi-
bility to the fingers, being a compound of the dactylion and the
handguiile.
STIBACCHIATO, (J.) dragging, relaxing in the time.
STICCATO, (J.) a musical instrument, the sounds of which are
produced by striking on little bars of wood.
STILO, (J.) style, either of composition, or of performance.
DI RECITATIVO, (J.) a tedious, monotonous style of
composition formerly much adopted in Italy.
STIMME, (G.) This word has various significations; as, the voice ;
the sound-post of a violin, &c.; a part in vocal or instrumental
music; and a stop of an organ.
STIMMSTOCK, (G.) the sound-post of a violin, &c.
STINGUENDO, (J.) gradually diminishing the tone.
STOP, the pressure of the fingers on the strings of a violin, violon-
cello, &c.
OF AN ORGAN, a collection of pipes similar in tone and
quality, which run through the whole, or a great part of the com-
pass of the instrument. In a great organ the stops are numerous
and multifarious, commonly comprising the following : —
Bassoon Stop, a reed stop, imitative of the instrument from which
it derives its name.
Cremona Stop, a reed stop, in unison with the diapasons.
Cornet Stop, a stop consisting of five pipes to each note.
Clarion, or Octave Trumpet Stop, resembling the tone of the trumpet,
but an octave higher than the trumpet stop.
Duleiana Stop, a stop of peculiar sweetness of tone, which it
chiefly derives from the bodies of its pipes being lorger and
smaller than those of the pipes of the other stops.
Flute Stop, a stop imitative of the common flute or flageolet.
Fifteenth Stop, a stop which derives its name from its pitch, or
scale, being fifteen notes above that of the diapason.
Hautboy Stop, a reed stop, having 0 tone in imitation of the haut
boy.
130 DICTIONARY OF MUSICAL TERMS.
Larigot Stop, or Octave Twelfth, a stop, the scale of which is aa
octave above the twelfth.
Mixture, or Furniture Stop, a stop comprising two or more ranks
of pipes, shriller than those of the Sesquialtera.
Cpen Diapason Stop, a metallic stop, which commands the whole
scale of the organ.
Principal Stop, a metallic stop, so called because holding, in point
of pitch, the middle station between the diapason and fifteenth
Stopt-Diapason Stop, so called from having its pipes stopped at the
top with a wooden plug, by which it is tuned, and by which its
notes are rendered soft and mellow.
Sesquialtera Stop, a mixed stop running through the scale of the
instrument, and consisting of three, four, and sometimes five
ranks of pipes, tuned in thirds, fifths, and eighths.
Tierce Stop, a stop tuned a major third higher than the fifteenth,
and only employed in the full organ.
Trumpet Stop, so called because its tone is imitative of a trumpet.
In large organs it generally extends through the whole compass.
Twelfth Stop, a metallic stop, so denominated from its being tuned
twelve notes above the diapason.
Voz-humana Stop, a stop, the tone of which resembles the human
voice. ;
STRAIN, a portion of a movement divided off by a double bar.
STRASCINANDO, STRASCINO, (J.) a grace chiefly vocal, and
used in slow passages. It is a kind of drag, and consists of about
eight or ten notes given in an unequal and descending motion.
STRASCINATO, (J.) relaxing in the movement.
STRATHSPEY, a lively Scotch dance in common time.
STRENG, (G.) strict, in relation to style.
STREPITOSAMENTE, (J.) with much noise and power.
STREPITO, con, STREPITOSO, (J.) in an impetuous, boisterous
style; noisy manner.
STRETTO, (J.) a knot. This term is often met with in modern
music towards the end of long movements, where it is used to in-
dicate a considerable acceleration of the time. It is also used in
fugue writing, to imply that the subject and answer begin muck
nearer to one another than at the commencement of the fugue.
STRICCIANDO, (J.) dragging in the time.
STRICHARTEN, (G. Pi.) different ways of bowing.
"9
DICTIONARY OF MUSICAL TERMS. 13.
_ BIKING, any wire, or preparation of sheep or catgut, used in mu-
sical instruments. The ancients originally strung their instru-
ments with thongs of leather, but afterwards — various
metals, including silver and gold.
STRINGED, an epithet applied to those instruments, the sonorous
parts of which consist of strings.
STRINGENDO, (J) accelerating the degree of movement.
STROFFA, (Z) strophe.
STROMENTI, (J. Pz.) musical instruments in general; as, stro-
menti di vento, wind instruments, &c.
STROPHICUS, one of the ten notes used in the middle ages.
STUDIO, (Z.) a study or exercise for some particular instrument.
STUFE, (G.) a degree; as, stufe der tonieiter, a degree of the scale.
STYLE, that cast or manner in composition or performance on
which the effect chiefly depends.
SUAVE, SUAVEMENTE, SUAVITA, con, (I.) with sweetress
and delicacy of expression.
3UB, (Z.) under, below.
SUBBASS, (G.) a stop or set of pipes belonging to the pedals.
SUBDOMINANT. the fourth note of the scale of any key.
SUBITAMENTE, SUBITO, (J.) quickly; as, volti subito, turn
over quickly.
SUBJECT, the theme or text of a movement.
SUBMEDIANT, the sixth of the scale.
SUBSEMITONE, the semitone below the key note.
SUBSEMITONIUM MODI, (ZL.) the leading note.
SUBTONIC, the note situated a semitone below the key note.
SUDDEN MODULATION, that in which the modulating chord iu
preceded by one which is not doubtful. See Gradual Modulation.
SUITE, (F.) a series, a collection ; as, wne suite de pieces, a series of
lessons. °
SUL, (J.) on or upon; as, sud A, on the A string of the violin, &c. ;
sul ponticello, on or near the bridge.
SUO LOCO, (Z.} in its own or usual place.
SUONO, (J.) a sound.
SUPER, (L.) above, over. ,
BUPERDOMINANT, the note next above the dominant in the
scale.
SUPERFLUOUS INTERVALS, augmented intervals.
‘32 DICTIONARY OF MUSICAL TERMS.
BUPERIUS, (ZL.) the upper part of any composition.
SUPERSUS, name formerly given to trebles when their station waa
very high in the scale.
SUPERTONIC, the note above the tonic or key-note.
SUPERTONIQUE, (F.) the supertonic, or second note of the scale. —
SUPPOSED BASE, lowest note of a chord when not the funda-
mental one.
SUR, (F.) on; as, sur la quatriéme corde, on the fourth string.
SUSPENSION, the momentary withholding of a note by retaining
some notes of the previous chord.
SUSPENDED CADENCE, several modulations being passed
through, instead of leading directly from the dominant chord to
that of the key-note.
SUSTAINED, notes are said to be sustained when their sound is
continued through their whole power or length.
SVEGLIATO, (J.) a gay and lively manner of playing or singing.
SWELL, that portion of an organ which consists of a number of
pipes enclosed in a box; with this box a pedal communicates, by
which it may be gradually opened or shut, and thus the tone made
lower by degrees.
SYMPHONY, the introductory and concluding ‘esmrninessenl
SYMPHONIE, (F.) : parts of a song; also, an instrumental com-
position, consisting of several movements, and designed for a full
orchestra.
SYMPHONIOUS, instruments or voices that are in symphony.
SYMPHONIST, one who composes symphonies. —~
SYMPHONIALE, (Gk.) a word prefixed to old canons, or perpet~
ual fugues, to indicate that they are in unison.
SYNAPHE, (Gk.) the conjunction of two tetrachords.
SYNAULIA, (Gé.) in ancient music, a concert of flute players, who
answered each other alternately, without any union of the voice.
SYNCOPATION, forming one continued sound, by connecting an
unaccented note with the following accented one, either in the
same or in different bars.
SYNCOPATE, SYNCOPATO, (J.) syncopated, bound together.
SYNCOPE, (F.) a syncopation.
SYNNEMENON, (Gé.) the third tetrachord of the ancients.
DIATONOS, (Gk.) third chord of the tetrachord
BYNTC NIC, (GA.) a species of the diatonic genus among the
- ee ee
=
DICTIONARY OF MUSICAL TERMS. 133
- ancients, in which the tetrachord was divided into a se nitone and
swo equal tones.
SYNTONO LYDIAN, one of the ancient modes.
SYRINGA, (L.) Pandean pipes, or Pan’s pipes.
SYSIGIA, (Gé.) a pleasing combination of sounds.
SYSTEMA PERFECTUM, the bis-diapason.
——_-_——— TEMPERATO, (J.) present system of tones.
~-—_—_——— PARTICIPARTO, a division of the octave or diapason
into twelve semitones.
T.
TABLATURA, TABLATURE, (J.) the ancient mode of writing
music by letters instead of notes.
TABOR, a small drum, generally used to accompany the pipe in
dances.
TABRET, a drum of the ancient Hebrews.
TACCI SI, (.) to be silent.
TACE, (J.) silent.
TACET, (Z.) a word which implies that, during a movement or
part of a movement, some particular instrument is to be silent; as,
flauto tacet, the flute is not to play.
TAILLE, (F.) the tenor voice or part.
TAIL-PIECE, that piece of wood to which the strings of bow in-
struments are fastened.
-——— TELLERS, name given by the Irish to their bards or harpers.
TAKT, (G.) the bar.
TAKTART, (G.) the species of time or measure.
TAKTSTRICH, (G.) the lines which mark the division of a piece
into bars; the bar-line.
TALON, (F.) the heel of the bow, that part near the nut.
TAMBOUDR, (F.) a military or great drum. |
DE BASQUE, (Ff.) a tambourine.
TAMBOURINE, a well-known pulsatile instrument, like the head
of a drum, with jingles placed round it to increase the noise.
TA MBURO, (J.) a drum.
TAMBURONE, (J.) the great drum.
TAMTAM, an Indian instrument of percussion, like our tambourine
TANTO, (J.) not so much, not too much,
12
134 DICTIONARY OF MUSICAL TERMS.
TANTUM ERGO, (L.) a hymn sung at the benedicticn in “he
Ca‘holic service.
TARANTELLA, (Z.) a peculiar sort of dance, supposed to hive the
virtue of curing the bite of a venomous species of spider, called
the tarantella.
TARDANDO, (J.) See Ritardando.
TARDO, (J.) slowly, in a dragging manner.
ee He : the key-board of a pjano-forte, &c.
TASTO, (J.) the touch of any instrument.
———— SOLO, these words are used in organ and pian¢-forte mu-
sic, to indicate that certain bass notes are not to be accompanied
by chords in the right hand.
TATTOO, the rapid beat of a drum.
TEDESCA, TEDESCO, (J.) in the German style.
TE DEUM, (L.) a hymn of thanksgiving.
TELL-TALE, an instrument attached to an organ, which, by rising
or falling, indicates the exhaustion of wind.
TEMA, (J.) a subject or theme.
TEMPERAMENT, (F.) a term used in the mathematical theory of
sound, in tuning, &e.
TEMPESTOSO, (J.) in a tempestuous manner, violently agitated.
TEMPESTA, a passage in imitation of a storm.
TEMPO, (J.) the degree of movement. ;
A, or IN, (J.) intime. An expression used after some
relaxation in the measure, to indicate a return to the
original degree of movement.
A PIACERE, the time at pleasure.
——_—— COMMODO, (J.) in a convenient degree of quickness
——— FRETTOLSO, accelerated time.
GIUSTO, (ZL.) in exact or strict time.
ORDINARIO, in usual time.
PERDUTO, a gradual decrease of time.
PRIMO, (J ) indicates a return to the original time.
RUBATO, (J.) implies that the time is to be alternately
quickened and retarded, but so that one prc ress may
compensate for the other.
-— —— DI BALLO, (Z.) in dance time.
— ———-— CAPELLA, in church style
>
.
a
DILTIONARY OF MUSICAL TERMS. 135
TEMPO D1 GAVOTTA, (J.) in gavot time.
———_-——— MARCIA, in time of a march.
—---__—_—— MENUETTO, (J.) in the time of a minuet.
POLLACCE, .a medium time, between andante wd
x allegro. :
——_—-——— VALSE, (J.) in the time of a waltz.
TEMPORAGIATO, (J.) this word indicates that there is to bea
pause, in order to afford the voice or instrument an opportunity
of introducing an extemporary grace or embellishment.
TEMPS, TEMS, (F.) time; also, the various parts or divisions oi
the bar.
———~—— FOIBLE, (F.) the weak parts of the bar.
FORT, (F.) the strong parts of the bar.
————— FRAPPE, (F.) the accented parts, or down-beats.
LEVE, (F.) the unaccented parts, or up-beats.
TENDREMENT, (F.) affectionately, tenderly.
TENEBRA, (L. Pi.) the Catholic evening service during holy
week. ;
TENELLA, a burden of ancient Greek songs.
TENERAMENTE, TENEREZZA, con, TENERO, (J.) tenderly
TENTIR, (F.) to hold, as a violin, a bow, &c.
TENOR, the highest male voice. :
BASE, a man’s voice midway between base and tenor.
———— CLEF, the C clef when on the fourth line.
VIOLIN, a violin of low tone.
TENORE, (J.) the tenor voice or tenor singer; a high male voice.
TENORSCHLUSSEL, TENORZEICHEN, (G.) the tenor clef.
TENSILE, such instruments as have strings are so called.
TENTH, interval embracing an octave and a third.
TENUTE, TENUTO, TEN., @dd., (J.) implies that a note or notes
must be held on, sustained, or kept down the full time.
TEORETICO, (1.) a theorist.
TEORIA, (J.) theory.
TEPIDAMENTE, TEPIDITA, con, (J.) with coldness and ind!¢
ference.
TER, (J.) thrice.
—— UNCA, tie name formerly given to a demisa@niquaver.
TERNARY MEASURE, a three-fold measure.
TERREMOTO, a representation of an earthquake, an example of
ae
.
133 DICTIONARY OF MUSICAL TERMS.
which is contained in Haydn’s “ Last Words of the Savior on ia
Cross.”
ans ,; , the interval af a, third.
TERZETTO, (J.) a short trio or piece for three voices or insiru-
ments. :
TERZINA, (J.) a triplet.
TESTO, (1.) text or subject of a composition. The word is also
applied by the Italians to the poetry of a song.
TESTUDO, name given by the Greeks to the lyre of Mercury.
TETARTOS, (Gé.) the four modes of the ancients, called the Mix-
olydian.
TETRACHORD, a system of four sounds among the ancients, in
which the extremes were fixed, but the middle sounds were varied
according to the mode,
TETRADIAPASON, the Greek appellation of the quadruple octave,
TETRANONON, Greek name of an interval of four tones.
THEILE, (G. Pi.) parts or capital divisions of the bar.
THEME, (F.) a subject.
THEORBO, an ancient stringed instrument of the lute kind.
THEORIE, (F.) theory.
THEORICIEN, (F.) a theorist.
THEORIST, ‘a musician who studies and explains the philosophy
of music.
THEURGIC HYMNS, songs of incantation; the first hymns of
which we have any account in Greece.
THIRD, an interval of three degrees,
THIRTEENTH, an interval of an octave and a sixth.
THIRTY-SECOND NOTE, a demisemiquaver.
THOROUGH BASS, the art of accompanying a figured Lass on the
piano or organ.
THRENODIA, (ZL.) a funeral song.
TIBIA, the ancient Roman flute.
TIBLZ PARES, (ZL.) two flutes played by one person.
TIBICEN, (Z.) an ancient flute player.
TIES, curved lines drawn over notes.
TIED NOTES, connected notes, or those having a tie tbove them
TIERCE, F.) a third. The name of Tierce is also given to an »-
gan-stop, which is tuned in the relation of a major third to “bs
principal, or a major tenth above the diapasons,
sos
re = oerte,
ep ae ee IN he ee al ee ene ene ee oe Or eee
- DICTIONARY OF MUSICAL TERMS. 13)
TIERCE DE PICARDIE. It was formerly the custom .o conclude
almost :very piece written in a minor key with the majar common
chord of the tonic. This conclusion obtained the name of Tierce
_ de Picardie, as the custom was supposed to have originated in that
province of France.
TIMBALLES, (F.) the kettle drums.
TIMBRE, (F.) the degree and quality of vibration and tone pecu-
liar to any instrument.
rIMBREL, an ancient Hebrew instrument, like a tambourine.
TIME TABLE, a representation of the several notes in music, show-
ing their relative lengths or durations.
CIMOROSO, (J.) with awe and timidity.
[IMPANI, or TYMPANI, (J.) the kettle drums.
rINTINNABULUM, (L.) little bells.
TIPPING, placing the end of the tongue on the roof of the mouth,
in order to produce certain tones on a flute.
TIRANNA, a Spanish national air.
TIRASSE, (Ff.) the mechanism by which the pedals of an organ
act upon the keys, by pulling them down.
TIRATA, (J.) a term formerly applied to any number of nctes of
equal value or length, moving in conjoint degrees.
IIRA TUTTO, (J.) a pedal or draw-stop in an organ, which, acting
upor all the stops at once, enables the player to obtain the full
power of the instrument.
TIRE, (F.) drawn. This term is used in violin music to denote a
_ down bow.
TOCCATA, (I.) a movement of difficult execution for a single in-
strument, generally the piano-forte.
TOCCATINA, (J.) a short toccato.
TON, (f.) a tone or interval of a major second. Also the pitch of
any note.
TON, (f.) the key, as, le ton d’ut, the key of C.
TONART, (G.) mode.
TONAUSWEICHUNG, (G.) modulation.
TONATILLAS, (S.) national Spanish airs, sung to a guitar accom-
paniment.
TONE. This word is received in various senses. First, to signify a
certain degree of distance or interval between two sounds, as in
the major tone and the minor tone. Secondly, it implies a prop-
12*
138 DICTIONARY OF MUSICAL TERMS.
erty of und, by which it comes under the relation of grave and
acute.
LONFUHRUNG, (G.) modulation.
TONLZEUM, in ancient music, one of the divisions of the chromatie
genus,
TONIC, the key-note is so called by theorists.
TONICA, (Z.) tonic.
TONIQUE, (F.) the tonic or key-note of a piece.
TONKUNST, (G.) the science of music.
TONLEITER, (G.) the scale.
TONORIUM, (L.) a pitch-pipe used by the ancient Romans ts
regulate the voices of orators, actors, and singers.
' TON PATHETIQUE, (F.) a plaintive tone.
TONSCHLUSS, (G.) a cadence.
TONS DE L’EGLISE, (F.) the Church modes or tones.
TONSETZER, (G.) a composer.
TONSTUCK, (G.) a musical composition.
TONSTUFE, (G.) a degree of the stave.
TON WISSENSCHAFT, (G.). the science of music.
TOSTO, (J.) swift, or soon.
TOUCHES, (F.) the keys of the piano or organ
TRACHEA, (L.) the windpipe.
TRADOTTO, (J;) arranged, adapted.
TRAIT, (F.) a run, or passage.
TRAITE, (F.) a treatise either on the practice or the manent
ITRATTATO, (2) of music.
TRASCINANDO, tardy movements.
TRANQUILLO, TRANQUILLAMENTE, TRANQUILLITA, cox,
TRANQUILLEZZA, con, (I.) with tranquillity.
TRANSIENT MODULATION, passing modulation; such as ¢ uita
a key almost as soon as it is entered upon.
CHORD, a chord introduced in order to form an har-
monious transition between two chords.
TRANSITION, in harmony, changing the genus or mode in 2 sen-
sible, but regular manner.
TRANSPOSITION, changing a composition into another key from
that in which it is written.
TRANSPOSED, removed into another key.
aptergs (F) ; the German flute,
DICTIONARY “OF MUSICAL TERMS. 139
RE, I.) three ; as, a tre, for three voices or instruments.
TREBLE, the acute part, that which in general contains the melody,
TREMENDO, (J.) with a tremendous expression, horribly.
TREMANDO, TREMOLANDO, TREMOLATE, TREMOLO, (7)
implies the reiteration of a note or chord with great rapidity, se
as to produce a tremulous kind of motion.
I'RENISE, (F.) one of the twelve movements of the quadrille.
['RIAD, a chord of three notes, a common chord.
TRIADE SEMIDIATONICA, a common chord, comprising tw
small thirds.
TRIA HARMONICA, (ZL.) a triad, or common chord.
——— DEFICIENS, (Z.) an imperfect triad.
TRIANGLE, a steel instrument of a triangular form.
TRIBACH, a musical foot, composed of three short notes.
TRICINIUM, a composition in three parts.
TRI-DIAPASON, (Gk.) a triple octave, or twenty-second.
TRIGON, a three-stringed instrument, resembling the lyre of tne
ancient Greeks.
TRIGONUM, an ancient instrument of Phrygian invention.
TRIHEMITONE, an interval consisting of three half-tones.
TRILLANDO, (J.) a succession of shakes on different notes.
TRILLE, (F.)
TRILLER, (G.) t, shake.
TRILLO, (J.) 4
TRILLERKETTE, (G.) a chain of shakes.
TRILLETTE, (F.) a short trill or shake.
TRIMELES, an air in ancient music for the flute.
TRIMETERS, ancient lyrical verses.
TRINKLEID, (G.) a bacchanalian or drinking song.
TRIO, (J.) a piece for three voices or instruments. This term also
denotes a second movement to a waltz, march, minuet, &c., which
always leads back to a repetition of the first or principal movement.
TRIOLET, (F.) a triplet.
TRIPLE CROCHE, (F.) a demisemiquaver.
———— COUNTERPOINT, counterpoint in three parts, all of
which are invertible.
~—-——- PROGRESSION, an expression in old music, implying 4
series of fifths,
~-———— - TIMES, such as have an odd number of parts in a bar.
140 DICTIONARY OF MUSICAL TERMS.
TRIPLEL, a group of three notes arising from the division of a nots
into three equal parts of the next inferior duration.
TRIPLUM, former name of the treble.
TRIPODIAN, (Gé.) an ancient stringed instrument, of difficult
. . performance.
T'RISAGION, a hymn in which the word holy is repeated three
times in succession. =
TRITE, a Greek term, signifying three, or third.
TRITONE,
TRITONO, (1) a superfluous or augmented fourth.
TRITONUS, (Z.)
TRITOS, (Gk.) the Aolian modes of the ancients.
TROCHEE, a dissyllabic foot, composed of one long and one snort
syllable.
TROLL, similar to catch-singing.
'TROMBA, (J.) a trumpet.
—— DI BASSO, (J.) the bass trumpet.
—-—_———. MARINA, (J.) the trumpet marine, a species of mono-
chord.
TROMBETTA, (J.) a small-sized trumpet.
TROMBONE, (J.) a very powerful and rough-toned instrument of
the trumpet kind, but much larger, and with a sliding tube.
TROMBONNE, (F.) the trombone.’
TROMBONO PICCOLO, a small sacbut.
TROMMEL, (G.) the great drum.
TROMP DE BEARN, (F.) the Jew’s harp.
TROMPETTE, (F.) the trumpet.
TRONCO, an intimation that the sounds are to be cut shor or
ended before their natural termination.
TROOP, a quick march.
TROPER, a book formerly used in the Church, -oontaining tye
chants.
[ROPPO, (J.) too much. This word is generally preceded by t) ¢
negative non ; as, adagio non troppo, not too slow.
CARICATA, (J.) is said of an air when overburdene
with accompaniments.
TROUBADOURS, the early poet-musicians of Provence.
rRUGSCHLUSS, (G.) a deceptive cadence; an unusua and un
expected resolution of a discord.
DICTIONARY OF MUSICAL TERMS. 143
TUBA, a trumpet. :
TUDESCO, in German style. Same as Tedesco.
TUNE, a succession of measured sounds.
TUNER, one who rectifies the false sounds of musical inst:.ments
YUNING-FORK, a steel utensil used for the purpose of turing in-
struments, or pitching tunes.
HAMMER, a steel or iron utensil used by tuners; -with
the head of the hammer, the pegs on which the wires are wound
are driven into their sockets; and, at the bottom of the handle, a
square aperture, which fits the tops of the pegs, enables the tuner
to relax or distend the wires.
TUONI ECCLESIASTICI, (J. Pi.) the ecclesiastical modes or tones.
TURCA, TURCA ALLA, (£) in the Turkish style.
TURN, an embellishment, consisting of the note on which the turn
is made, the note above it, and the semitone below it.
TUITA, TUTTE, TUTTI, TUTTO, (Z.) all; as, con tutta forza,
with all possible force. Tutti expresses the entrance of
all the instruments before or after a solo.
- FORZA, (J.) with the utmost vehemence, as loud as pos-
———.
sible.
TUTTE CORDE, (J.) upon all the strings. This term is sometimes
met with in music for the piano, to imply that the pedal which
shifts the movement must no longer be pressed down.
TUTRICE MUSICA, a female teacher of music.
TWELFTH, an interval of twelve diatonic degrees ; an organ-stoz
tuned a twelfth above the principal.
TYMPANI, (Z.) the kettle drums.
TYMPANO, or TYMPANUM, a musical instrument of the an-
cients, similar to a tambourine.
TYROLIENNE, (F.) a dance peculiar to the inhabitants of the
Tyrol.
Uv.
UBERMASSIGE, (G.) augmented, superfluous in regard to inter:
vals.
UBUNG, (G.) an exercise or study for any musical instrument,
UDITO, (J.) tke sense of hearing.
UDITORE, (JZ.) an auditor, a hearer.
LGUALE, UGUALMENTE, (J.) equally, all alike.
142 DICTIONARY OF MUSICAL TERMS, °
UMANA, (J.) human; as, voce umana, the human voice.
UMKEHRUNG, (G.) inversion, in speaking of cnords.
UN, UNA. UNO, (J.) a; as, un poco, a little.
UNA CORDA, (J.) implies that a passage is to be played upcn
only one string. E
UNCA, (Z.) the old name for a quaver.
UNDULATION, an agitation of the air, or waving movements «f
the voice.
UNEQUAL VOICES, those compositions in which male and fems‘e
voices are employed are said to be for unequal voices.
UNESSENTIAL NOTES, those which form no part of the har-
mony.
UNGERADE TAKTART, (G.) triple time.
UNHARMONISCHER QUERSTAND, (G.) a false relation.
UNISON, or UNIS, a consonance, or concord of sounds.
UNISONUS, or UNISONANT, a term applied to those sounds
which are of the same degree of acuteness or gravity.
UNISONI, (J. Pi.) this term implies that two, three, or more parta
are to play in unison with each other; or, if this be not practica-
ble, at least in octaves.
UNISONO, (I) a unison,
UNIVOCAL, a term formerly applied to octaves and its replicates.
UNMUSICAL, jarring, dissonant sounds.
UN POCO RITENUTO, gradually slower.
UPIRGE, a song consecrated by the ancient Greeks to Diana.
USUS, a branch of the ancient melopeia, which comprehended the
rules for regulating a succession of sounds.
UT, a monosyllable used by the French, to name and solfa the
note C.
~~ QUEANT LAXIS, (Z.) the commencing words of the hymn
to St. John the Baptist, from which hymn Guido is said to have
taken the syllables, ut, re, mi, fa, sol, la, for his system of solmiza-
tion.
Vv.
V is used by the Italians as an abbreviation of the word violin; ag
are VY. for violin: or violins.
VA, (7.) go on; as, va crescendo, continue to increase in loudr ess.
VACCILANDO, wavering, fluctuating.
DICTIONARY OF MUSICAL TERMS 143
VAGO, (I.) with a vague expression.
VALCE, (J.)
VALSE, ‘F.) a a walts.
FALBUB, (F) , length of notes in respect to time.
VALSE A DEUX TEMS, (F.) a modern waltz, in which (i
dances make two steps in each measure.
VARIATIONS ornamented repetitions, or various combinekious of
the same part.
VARIATO, varied, changed, altered.
VARIAMENTO, (J.) in a free and varied manner
VARIAZIONI, (J.) variations.
VARIE, (F.) varied, arranged with variations.
VAUDEVILLE, (F.) a short, interesting dramatic entertainment
_interspersed with little airs.
VEEMENTE, VEEMENZA, con, (I.) vehemently, forcibly.
VELATO, (1.) veiled, indistinct.
VELLUTATO, (J.) softly and smoothly.
VELOCE, or CON VELOCITA, (J.) in a rapid time. The term
is sometimes used to signify that a particular passage is to be
played as quick as possible.
VELOCISSIMO, (J.) with extreme rapidity.
VENEZIANA, alla, (I.) in the Venetian style.
VERANDERUNGEN, (G. Pi.) variations.
VERBINDUNG, (G.) combination.
VERILAY, a rural ballad, a vaudeville.
VERMINDERTE, -(G.) diminished, in speaking of intervals.
VERSE, 2 portion of an anthem or service intended to be performed
by one singer to each part, and not in chorus like the
rest.
ANTHEM, an anthem containing one or more verses.
SERVICE, a service in which verses are introduced.
VERSETTE, (G.) short movements for the organ, intended as prel-
udes, interludes, or postludes to psalm tunes, &c.
VERSETTO, (J.) a short or little verse.
VERSETZEN, (G.) to transpose.
VERSETZUNG-ZEICHEN, (G.) marks of transposition ; the sharp
. the flat, and the natural.
TERSI SCIOLTI, ‘7.) blank verse,
144 DICTIONARY OF MUSICAL TERMS.
VERSO, (I.) verse.
- FESCENNINI, nuptial songs of the people of Fescepnia.
TERWANDT, (G.) related, relative as to the keys.
FERWECHSLUNG, (G.) a change or mutation.
VERZIERUNG, (G.) embellishment, variation.
VESPER, (L.) vespers or evening service in the Cathclic church.
VESPERS, the evening service in the Catholic church.
VESPERTINI PSALMI, (J.) evening hymns.
VIBRANTE, (J.) a peculiar manner of touching the keys of the
piano.
VIBRATISSIMO, (J.) the superlative of vibrato.
VIBRATE, VIBRATO, (J.) with a strong, vibrating quality of
tone. ? ;
VIDO, (1.) terms used in music for such stringed instruments
VUIDE, ast as the violin, violoncello, &c., to signify that a
particular note must be played on the open string.
VIELLE, (F.) the hurdy-gurdy. >
VIETATO, prohibited. 3
VIERTELNOTE, (G.) a crotchet.
VIGOROSO, VIGOROSAMENTE, (J.) boldly, vigorously.
VILLANELLA, VILANELLE, (J.) the name of an old rustic
dance.
VIOLA, (J.) the tenor.
VIOLARS, strolling violinists of the twelfth century.
VIOL D’AMORE, (Z.) an instrument with six strings, resem
VIOLE D'AMOUR, (F.) : bling the violin in form, but with frets
vVIOL DE BRACCIA, (J.) the alto viola, or counter-tenor violin
so called because held on the arm or shoulder.
DA GAMBA, a stringed instrument so called; durir.g the
performance, it is held between the legs.
VIOLENTIMENTE, VIOLENZA, con, (I.) with violence.
VIOLETTA, small alto-viol.
———_—_—— MARINA, a stringed instrument, introduced in Eng-
land in 1732.
VIOLIN, a well-known stringed instrument, of brilliant tone ana
active execution. :
SCHLUSSEL, VIOLINZEICHEN, (G.) the treble clef
used for the violin, flute, &c.
VIOLINIST, a performer on the violin.
DICTIONARY OF MUSICAL TERMS. 145
VIOLINO, (J.) the violin.
—— PRINCIPALE, (J.) the principal violin part.
VIOLON, (F.) the violin.
VIOLONCELLE, (F.) re
VIOLONCELLO, (z.) § "B® Pass violin.
VIOLONO, (J.) the double bass.
VIRGINAL, an old keyed instrument, in high favor with Queen
Elizabeth and the ladies of her time.
VIRGULA, one of the ten notes of the middle ages.
VIRGULUM, former name of the branch of a note.
VIRTUOSO, (I) a musician who greatly excels on any particular
instrument.
YIRTU, VIRTUOSITA, manliness, or taste and address in per-
formance.
VISTAMENTE, (1.)
VITE, (F.) Swi quickness.
VITEMENT, (F.)
VIVACE, VIVACEMENTE, quick and lively.
VIVAMENTE, er CON VIVACITA, (J.) with briskness and ani-
mation.
VIVACISSIMO, (J.) with extreme vivacity.
VIVACITA, (1.) vivacity; as, con vivacita, vivaciously.
VIVENTE, VIVEZZA, con, VIVO, (J.) animated, lively.
VOCAL, music composed for the voice.
VOCALIZE, to practise singing on the vowels, chiefly the Italian A.
VOCALIZZI, (I.) vocal exercises to be sung on the vowels.
VOCE, (Z.) the voice.
——— MUSICALE, (J.) by this term, the Italians distinguished
the tonic or major key-note.
—~— SOLA, (Z.) to be sung without an accompaniment.
—— DI CAMERA, (J.) a voice suited for private rather than for _
public singing.
PETTO, (J.) the chest or natural voice.
TESTA, (J.) the head voice; that is, the falsetto or
feigned voice.
/ VOICE, sound or sounds produced by the vocal organs in singing.
VOIX ARGENTINE, (Ff.) 4 clear, fine-toned voice.
— — MONOTONE, a monotonous voice.
VOLANTE, (J.) in a light and rapid manner.
13
146 DICTIONARY OF MUSICAL TERMS.
VOLATA, VOLATINA, (7)? __.. ee
VOLATE, VOLATINE, (F.) : & Tapes CHRREIER SOT
-¥YOLKSLIED, (G.) a national song.
VOLL, (G.) full; as, mit volle Orgel, fall organ.
VOLLKOMMEN, (G.) perfect.
¥OLONTE, (F.) will, pleasure; as, d wolinté, at will
VOLTA, (£.) time of playing a movement; as, prima volta, the first
time of playing ; seconda volta, the second time, &e.
VOLTARE, or VOLTI, tarn over, or change.
_— (I.) am obsolete dance resembling the regan i writters
in 4 3 time.
YOLTI SUBITO, (J.) turn over the page ajidhenthy.
VOLUBILITA, con, VOLUBILMENTE, (Z-) with yolubility and
freedom of performance.
¥YOLUME, the compass of a voice.
VOLUNTARY, a piece for the organ, generally consisting of two
or three movements, calculated to display the omnelinens:< of the
instrument and the skill of the player.
VON, (G.) by; often occurs in German titles.
VORAUSNAHME, (G.) an anticipation in melody or harmonr,
VYORBEREITUNG, (G.) a preparation.
VYORHALF, (G.) a suspension or retardation either in melody cz
harmony.
VORSCHLAG,. (G.) an appoggiatura.
VORSPIELE, (G.)} an introductory movement; a prelude i in organ
playing. :
VORZEICHNUNG, (G.) the signature.
VOX, (L.) voiee.
——— ACUTA, (L.) an acute or high voice.
—— GRAVIS, (E£.) a grave or low voice.
VUIDE, (F.) open; as, corde vuide, in violin musie, indicates the
open string.
W.
WALTZ, a dance originating in Germany, the musie of which is
usually in § measure.
WALZER, (G.) a waltz.
WARBLE, in a manner imitative of the songs of birds.
WAYGHTES, WAITS, persons who, about Christmas, play peat =
tanes, &c.,,in the streets during, the night. :
DICTIONARY OF MUSICAL TERMS. 142
WECIISELNOTEN, (G. Pi.) irregular transient notes; sppoggi«
aturas,
WEICHE, (G.) minor in respect to keys and mode.
WEITE HARMONIE, (G.) dispersed harmony.
WELSH HARP, an instrument having about one hundred strings.
WESENTLICH, (G.) essential. _
WHOLE NOTE, a semibreve. >
WIEDERHOLUNG, (G.) repetition.
WINDLADE, (G.) the wind-chest of an organ.
WIND INSTRUMENTS, those instruments, the sounds of which
are produced by the breath, or by the wind of bellows.
WIRBEL, (G.) a peg of a violin, tenor, &c.
WRIST GUIDE, that part of. Logier’s Chisplast. which guides-the
wrist.
Z.
“AMPOGNO, (Z.) in the style of the bagpipe.
ZARGE, (G.) the sides of any musical instrument.
ZEITMASS, (G.) the time or degree of movement. ~
ZELO, con, ZELOSAMENTE, ZELOSO, (J.) with zeal; enthusi-
astically,
ZERSTREUT, (G.) dispersed.
ZINGARESA, alla, (I.) in the gypsy style.
ZINKE, (G.) a kind of rustic pipe, no songee used; a cornet.
ZITHER; (G.) the guitar.
ZOPPO, (J.) in a limping manner. A style of melody in which a
long note is always placed between two short notes,
ZUFALLIG, (G.). accidental.
ZUFFOLO, (J.) 4 little flute or flageolet, chiefly used to teach birds
to sing.
ZURUCKHALTUNG, (G.) retardation.
ZUSAMMENGESETZT, (G.) compound, in speaking cf times.
ZWISCHENSPEIL, (G.) an interlude in organ playing.
ZWISCHENRAUME, (G.) the spaces between the Ines ‘of the
stave.
ZWEISTIMMIG, (G.) for two voices or parts.
ZWEYFACHE INTERVALLEN, (G. Pi.) compound interval
ZWEYKLANG, (G.) a chord of two sounds.
148 ABBREVIATIONS
ABBREVIATIONS.
Accel... .. Accellerando
Acc. «+
Accom. .
Ad lib.. .. Ad libitum
Ad?. eeeee Adagio
Affet®..... Affetuoso
Affret®.. .. Affrettando
All®...... Allegro _
Alls... .. Allegretto
All 8"... . All’ ottava
Al Seg... . Al Segno
And®, . .. Andantino
Andt¢, .,. . Andante
Arp®. .... Arpeggio
A temp... A tempo
B.C. .... Basso Continuo
Brill. .... Brillante
Cal®°...... Calando
C.B....«.. Contrabasso
Cello. .... Violoncello
Clar. .... Clarinet
Col C ...Col Canto
Co 1™°.... Canto Primo
Con Esp. . Con Espressione
Cres. .... Crescendo
Cte, ..... Concerto
D.C. .... Da Capo
Decres.. . . Decrescendo
Diap. .... Diapason
Dim. .... Diminuendo
Dol. ..... Dolce
Dolciss. .. Dolcissimo
D.S. ...- Dol Segro
Energ®.... Energicamente
Espress. .. Espressivo
F. ..+..- Forte
Fag... .. Fagotto
} Accompagnamento
FF. eeeee Fortissimo
FFF. .... Very fortissimo
Fl....... Flauto or Flauti
Fz....... Forzando
Fp....... Forte, and then #.-
-ano; when applied to a sing 4
note, it marks a strong accent
Grand®. .. Grandioso
Graz°. ... Grazioso
Introd. . . . Introduzione
Leg...... Legato
Leggier. . . Leggiero
L. H..... Left hand
Maest?.... Maestoso
Man®, ,.. Mancando
Magg..... Maggiore
pe Sabine ge OE
. » Mezzo forte
«+++ Maelzel’s Metronome
.- + Mezzo piano
-..++ Mano sinistra
Men. .... Meno
Min...... Minore
Mod?..... Moderato
Mus. Bac. . Bachelor of Music
Mus. Doc. . Doctor of Music
M. V..... Mezza voce
+++ Oboe
Op. ..... Opera
g°. .... Organo —
8*. or 8°". . Ottava
8** alta. .. Ottava alta, anoctave —
‘ higher
8Y? bassa. . Ottava bassa, an oc-
tave lower
Con 8°*, .. Con ottava, with ce
taves
mr
FHRASES WHICH OCCUR
PSs3 s.. :«-Pigne
Ped......- Pedal
Perden. .. Perdendosi
- «+.» Piano and then forte
Pizz. .... Pizzicato
PP. ..... Pianissimo
(ee ec so. EE
ymo, ee. gigna JP
PPP. .... Very pianissimo
Yrest™?. . . Prestissimo
Raddol.... Raddoleendo
Rallen. .
Rall, .. Rallentando
Recit..... Recitativo
* R.H.... Right hand
Rfz. +... > Rinforzando
Ritard. ... Ritardando
Riten..... Ritenuto
Scherz.... Scherzando
Seg...... Segno
IN MODEEN a¥Tuors. 149
Sem...... Sempre
Sf. ...... Sforzando
Smorz. ... Smorzando
aro } Sostenuto
+ «+. Symphony
Secon
«++. Secondo
Stacc..... Staccato
T.S...... Tasto Solo
Tem, .... Tempo
Ten. ..... Tenuto
W8¢ ian bc
Unis. .... Unisoni
Var. ..... Variation
8 i ER ee
Ve 5 ceo ean
Vilo,..... Violoncello
V.S. ..+. Volti subito
Ve Veoeee Violini
PHRASES WHICH OCCUR IN MODERN AUTHORS.
Andante ma non troppo e con tristezza. Not too slow, but with pathos
Andantino sostenute e semplicemente,
al canto un poco pitt forte. In a
sustained and simple style, with the melody somewhat louder than
the other notes.
Colla pitt gran forza e prestezza. As loud and as quick as possible.
Come ’1 primo tempo.
In the same degree of movement as at first.
Come tempo del tema. Same degree of movement as the theme.
Uantabile, ornamenti ad libitum, ma pit tosto pochi e buoni.
In a sing-
ing style, with embellishments at will, but few and well chosen.
Con abbandono ed espressione. With self-abandon and expression.
Con brio ed animato. Animated and brilliant.
Con 8va ad libitum. With octaves at pleasure.
Crescendo ed incaleando poco a poco. Greatly augmenting the power
and increasing the time.
Crescenda poco a poco. Increasing the sound by degrees.
Grescendo e pot diminuendo.
so ind.
13 *
Increasing and then diminishiag vne
150 CHARACTERS USED IN MUSIC.
Da capo senza repetizione e poi la coda. Begin again, but without any
rep2tition of the strain, and then proceed to the coda.
Dolce con gusto. Sweetly and tastefully.
Dolce e lusingando. In a delicate and insinuating style.
Dolce e piacevolmente espressivo. Soft and with pleasing expression.
Dolce ma marcato. Delicately, but still sufficiently marked.
FF. principalmenie it basso. Very loud, especially the bass.
Ii a ae a tutte le notte di basso. The third finger on all the notes
in the bass.
Istesso valore, ma un poco pitt lento. The same duration, but rather ‘
slower.
L’istesso tempo pot a poi di nuovo vivente. The same time, with grad-
ually increasing animation.
Moderato assai con molto sentimento. A very moderate degree of
movement, with much feeling.
Piano, sempre staccato e marcato il basso. Soft, with the bass always
well marked and detached. :
av @ poco, pitt di fuoco. With gradually increasing animation and
Poco a poco crescendo, decrescendo. Louder; softer, by degrees.
Poi a pot tutte le corde. All the strings, one after another. An ex-
pression used in playing the grand piano-forte.
Segue subito senza cambiare il tempo. Proceed directly and without
changing the time.
Segue senza interruzione. Go on without stopping.
Sempre piano e ritenuto. Always more and more soft, and falling off
in the degree of movement.
Sempre pitt decrescendo e pitt rallentando. Gradually softer and slower.
- Sempre pitt forte ..... ali ff. Louder and louder to the fortissime.
Seconda volta molto crescendo. Much louder the second time of play-
ing.
Sin’ al fine. To the end.
Tenete sino alla fine del suono. Keep down the keys as long as the
sound lasts,
CHARACTERS USED IN MUSIC.
§ 1. Names of the Notes.
In England, and in Germany, the notes are named after the sever
letters, A, B, C, D, E, F, G.
The only difference is, that the Germans apply the letter B to b
flat only, and call our B natural, H.
In Italy and France the notes are named la, si, do, re, mi, fa, sol
>orresponding to our A, B, C, D, E, F, G.
These notes may be natural, sharp, or flat, and occasionally ereg
double sharp, or double flat.
wa
CHARACTERS USED IN MUSIC. i5i
Thus we kave C natural, C sharp, C flat, and, at times, C double
sharp, and C double flat.
Ii France and Italy these notes would respectively be called do
waturelle, do dieze, do bemot, do double dieze, do double bemol, &e.
The Germans add to the letter which is used to denominate the
note in its natural state, is, when it is to be made sharp, and es, when
sharp is called cis,
C flat C3,
C double sharp ciscis,
C double flat —— cesces.
The staye on which the notes are written.
—_——_—
cumpeeeliy lines, drawn above or below the stave, te supply
a ditional places for the notes.
Treble or G clef.
C clef, which admits of four situations.
F or bass clef.
§ 2. Characters relating to the Duration of the Notes,
Resis, Dot, §c.
Semibreve.
Breve, Semibrev a
si < e aie ~" ee Se: as
Quaver. Semiquaver. Demisemiquaver.
on '
All the above notes may have one, two, or even three cos plased
after them, to protract their duration.
152 CHARACTERS USED IN Music
Each note has a corresponding rest ; as,
Breve rest, or two Semibreve rest, or generally
bars in any time. a@ single bar rest. Minim rear
a | Bikeotie. © bbidae” nel
Crotchet Quaver Semiquaver -. +Demisemiquave3
ress. rest. rest. rest
a
|
a
Vd
Rests may be dotted, or doubly or triply dotted, like the notes
which they represent.
Notes are sometimes divided into 3, 5, 7, 9, &c., equal parts, in-
stead of 2, 4, or 8, as usual; in this case, the number of parts is
expressed by a figure, and a curved line is drawn over it, thus~
NN FA ES
3, 6, %, 9, &e.
§ 3. Marks of Transposition or Alteration of the Pitch of
the Natural Notes.
# The sharp. xX — - The double sharp.
b The flat. bb . The double flat.
The natural. 6 + Single sharp after a double sharp
Hb Single flat after a double flat.
§ 4. Table of Characters denoting the different Species of
Time.
Bar lines, dividing a movement into small equal portiona
of duration.
Cc or ¢ Indicates two minims or four crotchets in each bar
Indicates two crotchets in each bar.
—-— three crotchets
Pw WH mw
CEARACTERS USED IN MUSIC. 153
Iniicates three quavers in each bar.
six crotchets —- ~—
six quavers ———
twelve quayers
twelve semiquavers —-----<
av
nine crotchets
nine quavers ——
nine semiquavers
ad @O PO = OQ Oo aw
ae aw Mx» ake
§ 5. Other Characters affecting the Duration of the Notes.
A bind or tie, which connects two or more notes of the same
name into one longer note.
“eA pause, which lengthens at will the duration of a note or rest.
_
§ 6. Characters indicating the various Degrees of Loud
————____ Indicates a crescendo, or gradual increase of tone.
= _ Indicates a decrescendo, or gradual decrease.
tiie ae Indicates first a crescendo, and then a
SS] Indicates first a decrescendo, and then a
crescendo.
§ 7. Marks of Accent and Expression.
Indicate a stress or marked accent on any single note or
chord. The abbreviations rf, sf, fz, rfz, sfz, fp, or even
Ff over a single note, are also for the same purpow
=> —Y|
154 CHARACTERS USED IN MUSIC.
Te _ Dashes indicate notes struck very short, or staccato; thas
41° is, not held their full value. ji
Dots, notes struck short, but not in so marked a way as
the preceding.
om. Curve and dots. Notes still less staccato. This is calied
ne # the mezzo staccato.
a— Slur, or legato mark.
§ 8. Graces.
@ or e Indicates the appoggiatura, where superior sr inferior.
~ Yurn.
@ Inverted turn.
b Turn with the note above made flat.
~
# Turn with the note below made sharp.
tr or tree _=—s A shake.
or
Indicates that the chord before which it is placed must ve
(cr ; sprinkled or arpeggioed.
; The vibration or close shake.
§ 9. Characters used to separate a Movement into its com.
ponent Parts or Strains, Marks of Repetition, &c
i : Double bar.
‘| | Double bar, with a repetition of the preceding strain
‘ : Doub.e bar, with a repetition of the following strain.
‘| i $ Double bar, with a repetition of the strain on eack side,
lon
li Indicates the strain which is to conclude the piece
CHARACTERS USED IN MUSIC. 158
§ 10. Marks of Punctuation, or Rhythm.
A Indicates a phrase or incomplete musical idea.
| Indicates a section, or complete but not independent ides.
O Indicates a pertod, or complete and independent musical sen
tence.
The ordinary marks of punctuation , ;:.are employed by some
eomposers for a similar purpose.
§ 11. Miscellaneous Characters.
A brace, used to connect two or more staves together in piano«
forte, harp, and organ music, or in scores.
= 120
f : Mark the application of Maelzel’s Metronome, &e.
= 80
>
| Are met with in piano-forte music, to indicate the use of the
pedals,
*
Ped.
| The direct ; it is upon the same line or space as the ncte
si which begins next line.
ry Are often met with in violin music, the former to indica‘e
A 8 down, and the latter an up, bow.
§ 12. Marks of Abbreviations.
Indicates that the long note must be repeated as often as it con:
tains quavers or semiquayers.
156
CHARACTERS USED IN MUSIC.
—
is equivalent to
f Pete
to
and
is equiva- =
- lent to ,
—as
zy
SHORT TREATISE
ON sn
PLAYING THE ORGAN OR PIANO-FORTB
BY FIGURES,
AS USED IN WRITING PSALM TUNES AND OTHER CHURCH
MUSIC, WHICH IS COMMON IN THIS COUNTRY
i
LESSON I,
COMMON CHORD.
In playing church music, the pupil should look to the
two extreme parts, viz. the Base and Soprano, and the
figures which are usually written underneath the Base.
The other two parts are termed the intermediate parts,
(Alto and Tenor) from the fact that they are seldom played
below the Base or above the Soprano.
All four parts are played, and sometimes other notes
are added to fill up the harmony. The Base is usually
played with the left hand, and the Tenor, Alto and So
prano with the right, the two intermediate parts being
frequently played an octave above where written.
Any letter with its third, fifth, and usually eighth, is
.ermed a common chord, and it is generally played in three
different positions, thus:
‘ 14
iis
[58 ON PLAYING BY FIGURES.
Ast. 2d. 3d. -Ist. 2d. 3d. Ast. 2d. 3a
‘
kt
NY 0
NOD
(
)
\)
ae
Q
Q
L
= & [] +
|
although there are three other positions, as has been
shown in Lesson III on Musical Composition; but as the
common chord of any letter is not usually figured, it would
be difficult to tell which position it should be played in,
without looking to the intermediate parts, if the last th~ea
inversions were played.*
Perhaps it would be well. for us here to remark, that
all the letters bear the same relationship to C, whether
high or low, so far as the figuring is concerned; for ex-
amples and illustrations see Lesson III,
Sometimes the common chord is figured; when this is
the case, it is usually done to contradict some preceding
chord. The figures which are used are } either of which
singly or together, represent the common chord and po-
sitions.
Exercise for the pupil to fill out as it should be playea ;
also, name the digovont positions, §c,
y 2)
| A eS es £
Oo eS E
cert ee 5
C (a Toe) i
° a: i] {
SE — AMET RATE MTN. PF YE! TEER ~~ E
er og ates
a
*It is to be regretted that the habit of playing by figures is so much ig
vogue in this country, as many of the chords must necessarily be played
rather imperfect, which would not be the case, if the intermediate parts were
eroight on the two staffs with the Base and Soprano.
ON PLAYING BY FIGURES. 159
The pupil should now commence playing simple psalm
tunes, leaving out the chords which he does not uader-
stand, and confining himself to the common chord. He
should also be required to name the different positicva
of each letter which he plays in the Base.
LESSON IT.
INVERSIONS OF THE COMMON CHORD.
Every common chord is susceptible of two inversions
and to each of the inversions the three different positions
may be played, thus.
Ist inversion. ©___ 2a inversion. Oo
oS (-) a
REE —~ SR PES GR ~ EAL ATA PR
— o eS eo
ve —@ Cc
q i) i} i)
Oe
6 6 6 6 6 6
4 A 4
As the pupil will perceive, the figure to the first inver-
sion is 6—to the second, §. When the figure 6 is writ-
ten under a chord, we refer back a third and play the
common chord, to that letter which is a third below the
Base, and this is termed the fundamental base of the
chord. Inthe second inversion, we refer back a fifth ar¢d
slay the common chord to the fifth below.
160 ON PLAYING BY FIGURES.
Remirk.-—It is hoped that the pupil will not puta
wrong const -uction on what has been said respecting the
imversion of the common chord. It is not expected that
the fundamental base will be played with the left hand,
but the real base which is written; yet still preserving
the common chord to the fundamental, viz 8. (See
Tesson III on the Elements of Musical Composition.)
Example for the pupil to fill out and play.
ao ae ae ee
—-o d — Fe TN t
Coo
“~o-
= — eee SE a
io)
i 2
6 6 6 6 6
4 4
The pupil may now play the same tunes in which he
has been practising the common chord, and play the
chords of the 6 and § wherever they occur, naming the
inversion and position, &c,
LESSON II]
CHORD OF THE SEVENTH.
Tne common chord of any letter with the seventk adced.
counted up from the base, constitutes the chord of the
seventh; three positions are usually playe¢ thus: _
ON PLAYING BY FIGURES 161
or thus.
arr = S ete BEd %
nD a
x oO oO ;
ry (or)
tT
bye a a
ener ws |
sf
(ees eet
fe\e t
; ——— -~2-o—
sn atanes ape ee
ee | ee Gea 6 ¢ 7
Practice tunes, and play the chord of the seventh wher-
ever it occurs, naming the position, &c.
The chord of the seventh has three inversions, and te
each inversion three positions, thus:
ao _ ist inversion. 2d inversion. 3d inversion. a7
fx ie eo e—a|
Peewee s
K— Fe — 2 —s
«See TSE Lee cae ad |
> A _
6 4 4
oR Gist 8 eet fed
14*
L162 ON PLAYING BY FIGURES.
Exercise for the pupil to fill out and play, naming th
inversion, position, &c.
way
ee |
BSR BE SS ie a AO
a aie a a
‘
%
oS: -O--— Phe SR
| Bh eee = a
| east aa
td. te eee 8
Practice tunes, and play the inversions of the seventh
wherever they occur, naming the inversion, position, &e
LESSON IV.
MISCELLANEOUS CHORDS
‘Luere are several other chords besides the above, ou.
it will not be necessary to go so minutely into particulars
respecting them, if the pupil will only bear in mind the
fact, that they are always figured from the real base.
Here are most of the remaining chords which are used
in common psalm tunes, written out, thus:
* A Shar», Flat or Natural placed under a chord or figure, always has
teference to the thir 1 from the real base.
ON PLAYING BY FIGURES 16:
Who
oy
There may be a few other combinations of figures used
occasionally, but the above are the principal. If other
figures do occur, all the pupil will have to do is to count
up from the base; and if he then will not be enabled to
play the chord right, he had better look to the interme-
diate parts, when he will be sure to get the right notes.
The pupil should seldom double the third of a “chord, at
it often leads to bad progressions, &c.
* A Sharp, Flat or Natural placed before a figure has the same effect a4
h paced before a note.
‘a parallels thus, = signify tne chord should be continued.
CONCERT MUSIC.
Tus is the field which presents the greatest scope of
evelopment in the treatment of individual irstruments,
as well as the whole of them conjointly.
The Symphony is the highest climax of instrumental
music—a combination of several instruments, in which
every one appears in more or less rivalship with the other,
to participate in the general co-operation for melody and
harmony. A brilliant, animated, rich style, grand and
vigorous melodies in well-poised alternation with soft and
tender thoughts, striking and decisive bases, energetic
modulations, the boldest interlacements and imitations ..
melodies and rhythms, the utmost successive changes,
and the most varied union of the instruments, co-operating
in the general effect, at one time individually, at another
simultaneously—now as principals, now as accompani-
ment, or reinforcing and filling up the score—such are
the characteristic features of the symphony. In order
to satisfy these requisites, great mastery of harmony, and
knowledge of all the instruments, will be found to be in-
dispensable. ’
In the Overture, the requisites pointed out for the sym-
phony are called for in a less degree. In cases, more-
over, where the overture serves as introduction to a work
of greater extent, such as an opera, oratorio, &c. its na-
ture and character is defined by the contents of the work
itself; inasmuch as its object ought to be to incicate the
contents of the composition which it ushers in. ‘The sym-
phony, on the contrary, is an independent, entire ly unfet
tered creation of musical imagination.
The Concerto is destined to display the character and
capabilities of an instrument, supported and accompanied
by the rest of the orchestra, all the instruments of which,
however are not requisite in such co-operation. It :s,
OF CHAMBER MUSIC. AGS
therefore, essential and natural that the instrument in
question should act a prominent part, whether it be by
means of impressive delivery or mechanical skill. That,
on such an occasion, the character of the instrument
should be carefully attended to, and its mechanical treat-
ment fully understood by the composer, isa matter of
course. A composer and virtuoso, whose aim is a mere
accumulatior of mechanical intricacies, and who affords
no opportunity or zratifying the feelings of his hearers by
genume toucnes of expression, does not come within tne
pale of the foregoing definition; and much less so, if he
conceives the non plus ultra of ‘‘ virtuosity ”’ to consist in
striving to render things possible which militate against
he nature of the instrument. Feats of this kind are
sretty much of a piece with those of a rope-dancer &«€
CHURCH MUSIC.
Tax >bject of church music is to assist in the worship
of the Almighty, to fill the mind of the hearer with reli
gious feelings, and to raise his thoughts above all earthly
considerations. This can only be effected if the melody
is simple and of a noble character, scorns all unneces-
sary, tinselly ornaments, and refrains from everything
which merely enables the singers or players to exhibit
their mechanical dexterity.
It is here that the powers of hurmony should be ren-
dered available in their greatest energy, without, how-
ever, indulging in artificial modulations, or injuring the
purity and clearness of the melody by combinations of too
complex a nature, and an accumulation of dissonances
without object; for that which is truly great must present
itself to the mind in the simplest and clearest form.
| 66 OF CHURCH MUSIC.
Church music occurs in a two-fold form, viz., as choral
music and as figurate music.
In choral-chant, the melody moves :n the most simple
and easy intervals of tone, without any passing notes
which might serve the purpose of ornament, in steps at
once slow and solemn, and mostly of equal duraticn.
As the choral melody is to be sung by the who e con-
gregation,* the extent of its range ought not to be great;
but limited, if possible, within the space of an octave.
Care is also to be taken that the air does not ascend too
high or drop too low, in order to render its execution prac
ticable to an assembly composed of voices of so differen
a pitch. The limits we should be inclinea tc propose,
would be d or ¢ for the lowest, ard € or at the utmost f,
for the highest notes.
Let the harmonic accompaniment, in sacred tunes of
several vocal parts as well as for the organ, be simple, no-
ble and energetic, and in accordauace with the character of
the poetry. It ought neither to be showy and inclining
to parade, lest it turn off the attention from the melody,
nor too meagre of interest. Do not seek to surprise the
hearer by too frequent a use vf dissonances, unusual turns,
modulations, and transitions; but be careful, at the same
time, not to convert simplicity into monotony, by employ.
ing, exclusively, fundamental chords and their first inver-
sions. :
It is in figurate music, where the congregation does not
co-operate, that the chorus is of primary importance; and
here the composer finds ample scope for displaying the
owers and capabilities of harmony in their full extent.
t is here that an elaborate harmonic development, such
as the fugue displays in the highest perfection, will be m
iis right place, and may be resorted to with the greatest
success. But to produce a work of this description, in
which, instead of artificial contrivance constituting its only
merit, the inspiration of genius shall, throughout, predomi -
nate over the highest efforts of mere art, is the greates'
* This is not the ase in this country, yet still the remarks»will apply to ov
choirs generally,
a
OF CHURCH MUSIC. 167
problem _in musical composition; a problem which, suc-
cessfully sclved, presents the highest masterpiece of which
the avt is capable. :
Tke vocal solo, which, if ably applied, forms a happy
contrast with the energies of the chorus, should not aim
at displaying the mechanical dexterity of the singer, which
ought to be considered as merely the means of attaining ©
the end proposed. It should breathe the language of that
genuine pious feeling which is a stranger to all outward
show, and seeks to appear before the Eternal Being in
submissive humility. Hence we cannot but condemn, as
contrary to the object in view, the arias in several cantatas
of no very remote date, in'which tasteless and unmeaning
divisions, roulades, and other fringe-work distract the
attention, and tear and distend the words of the text in
the clumsiest manner.
If the student is desirous of practically knowing how
the genuine vocal solo for the church ought to be consti-
tuted, let him consult some of the arias in Handel’s Mes-
siah—above all, the admirable soprano song, ‘‘I know
that my Redeemer liveth;”? also the solos in Mozart’s
equiem, several solos in the masses of Haydn, and in
his oratorio, the Creation.
Figurate music, with instrumental accompaniments, ought
only to be resorted to on extraordinary and solemn festi-
vals; while pure vocal music, in combination with the
organ, should alone be employed on common oceasions.
It would also be highly desirable that, in the Protestant
Church, music were brought into more intimate union
with the divine service, and that the hymns of the con-
gregation were more frequently relieved by choir singing,
for it cannot be denied that, in the Catholic Church, mu
sic, when it is employed, appears as an essential and inte-
ral part of the service, and thus produces a much greater
impression than is the case in Protestant communities,
into which it is rather admitted by sufferance, and where
it stands as it were an insulated stranger. At the same
time, we are willing to admit that many of the modern
compositions for the Catholic Church are exceedingly
frivolous, and far from corresponding with the dignity of
gemaine church music.
CONTENTS.
Tha Time Tabkle, e . e e e e e . €
Abbreviations, . ae PY Weise, SRR Oe
Phrases which occur in Modern Authors, . . «© «
Names of the Notes, : ia tw nl! Se ropk pee ee hart) |
Characters relating to the Duration of the Notes, Rests, Dot, &c.,
Marks of Transposition or Alteration of the Pitch of the Nat
ural Notes, . - ° 4 c ° . ;
Table of Characters denoting the different Species of Time, .
Other Characters affecting the Duration of Notes, . . .
Characters indicating the various Degrees of Loud and Soft, °
Marks of Accent and Expression, TRS ben eS es
Graces, > 2 ° ° ° . $e . : :
Characters used to separate a Movement into its Component
Parts or Strains, Marks of Repetition, &c., PRE LTS
Marks of Punctuation, or Rhythm, ° e e ° e °
Miseellaneous Characters, . . . e e e e e
Marks of Abbreviation, «© +. «© «+¢ «© © © « +
155
TREATISE ON PLAYING THE ORGAN OR PIANO-FORTE BY FIGURES.
I. Common Chord, " : . °) e . ° °
II. Inversions of the Common Chord, . + e« .
III. Chord of the Seventh, . +26 «c« «© 2e© «# e¢
IV. Miscellaneous Chords, © ° ° e e e
Concert Music, . ‘ ° Fs e e Perha
Church Musie, e e © e 8 e
157
159
160
162
etd etre
TAA De TS Nohet
a
Singh Vere os Anitsaeh
Se tole ade gigas!
sated ae
t
; fs 7,
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Arbuckle’s Cornet Instructor.......... 3 00
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‘son’s Brass Band Music. For full
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u Number. .
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eee ee ee oy
Complete... ve thes
> Niusic Books published by Ditson & Co., Boston é |
SENT, POSTAGE PAID, ON RECEIPT OF PRICE.
ce leen Orchestra, pent: parts. ..
ral ere for4, 6,or Sinstrument sf
Beardivt. oii: Soe ee sles US aie’
Terpsichore.. Dance Music for 5 in
ments. 17 Nos. Each..........
Terpsichore. Dance Musie for 18
struments. 17 Nos. Each...... :
National Orchestra. 30 Melodies, for: 3
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Winner’s New School for ‘A‘ceordeon
Clarionet, Flageolet, and Fife. a
Winner’s Perfect Guide bal Ge
Concertina... .......e0e
Buckley’s Banjo Guide. . leva een ee
Dulcimer Instructor. ........ whi
Army Drum and Fife Book....... a
Draper’s Fife Melodies, ..........j)+
Rasta Art of by Com
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mail. ) Mat. oe avec ed bo pas ae
Panseron’s ABC. $400. “pitiagea.:
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Pee e me rere weer ee te we ewerer tere -
Wilheim’s Method. Adapted toBehiock
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Amphion. Part-Songs, for Male Votoes,
in separate books, with Piano accom-
paniment. . i
Arion. Part-soug:, for Male Voices, in
separate books, with Piano acconvae
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orus Wreath. Sacred and Secular. /
1 estval Glee-Book. By. Root. & Brad-_
bury. er
Gen lemen’s Glae-Book. “By ‘Dr. ia ;
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Greeting. L.O. Emerson..
New-York Glee and Chorus Boo
Bradbury: s. 3:50 sdatine Works's oben
Young Men’s Singing-Book. Root an
MAROR s5) 2h bees, . 2S. Weare dan ead
Carmina Collegensia. (College Son
Cloth, gilt, $3 00; clo
Moore’s Irish Melodies.
$4 00; cloth, $3 00; boards.. sah
Wreath of Gems. ‘New. Cloth, gi
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100 Comic, 1 00 Trish, ard 100 Scote
Songs. Wach..
Silver Choi 1; Duets.
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‘Shower of Peatigt :
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neriem ‘Tnuae- Bock. (Cream oi
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New Carmina Sacra. Lowell Mason...
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Sabbath Guest.” Emerson | & Morey... 1
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